PRACTICAL 
&,  ARTI  STIC 


Laura  Rollins  Ttnsley 


UNIVERSITY  OF  CALIFORNIA: 


Class 


* 


PRACTICAL  AND  ARTISTIC 


BASKETRY 


BY 


LAURA  ROLLINS  TINSLEY 

Formerly  Principal  in  tlie  Minneapolis  Schools 


NEW  YORK 

THE  A.  S.  BARNES  COMPANY 


0 


Copyright,  1904,  by  E.  L.  KELLOGG  &  Co. 


Contents. 


PAGE 

Foreword » 5 

CHAPTKR. 

I.  In  (reduction 11 

II.  Materials 15 

III.  Rattan  Weaving 24 

IY.  Rattan  Mats 30 

V.  Borders 37 

VI.  Rattan  Baskets 41 

VII.  Handles,  Covers,  Hinges,  and  Fastenings 47 

VIII.  Native  Willow  Baskets . .  51 

IX.  Articles  made  of  Raffia 60 

X.  General  Directions 68 

XI.  Knot  or  Lace  Stitch 73 

XII.  Navaho  Weave 81 

XIII.  Flat  Rattan 84 

XIV.  Soft  Coil 92 

X  V.  Button  hole  Stitch 98 

XVI.  Strap  Stitch , 101 

XVII.  Whip  Stitch 103 

XVIII.  Porno  Stitch 105 

XIX.  Basket  made  of  Flats 108 

XX.  Articles  made  of  Corn  Husks 117 

XXI.  Basket  Work  Graded  for  Use  in  Schools 120 

XXII.  Coloring "126 

XXIII.  Cord  Work .  130 


Basketry  in  the  Public  Schools. 


FOREWORD. 

"Ornamental  learning1  is  a  thing  of  the  past 
and  industrial  and  practical  development  is 
taking  its  place." 

It  is  not  the  purpose  of  the  author  to  discuss 
the  advisability  of  giving  to  every  child  an  op- 
portunity to  unfold  the  mental,  moral,  and 
physical  faculties  simultaneously,  thus  giving 
an  ideal  and  symmetrical  education,  but  to  sug- 
gest some  of  the  ways  by  which  these  desired 
results  may  be  attained. 

There  are  few  who  will  deny  that  some  train- 
ing is  needed,  besides  what  the  child  now  has, 
whereby  he  may  be  led  to  think,  observe,  com- 
pare, invent,  and  classify  for  himself. 

It  should,  however,  be  thoroughly  under- 
stood by  the  patrons  of  the  public  schools  that 
it  is  not  the  object  of  this  training  to  teach  their 
child  any  one  trade.  This  would  be  unwise  and 
impossible;  but  it  .should  seek  to,  give  him  a 

5 


6  Practical  Basketry. 

little  knowledge  of  as  many  sides  of  industry 
as  possible,  and  to  familiarize  him  with  com- 
mon substances  and  their  physical  properties; 
to  make  him  a  doer,  instead  of  an  onlooker,  and 
to  teach  him  to  build  character,  as  well  as  to 
construct  articles  of  use  and  beauty. 

All  educators  must  admit  that  many  mis- 
takes have  been  made  in  trying  to  solve  the 
problem  of  putting  a  child's  senses  and  hands 
into  harmonious  relation  with  his  mind. 

Perhaps  one  of  the  most  harmful  mistakes 
possible  is  giving  to  young,  immature  children 
too  difficult  or  advanced  work.  It  is  a  serious 
mistake  to  give  to  the  child  just  entering  school 
work  that  is  more  suited  to  his  older  brother 
and  sister.  The  result  must  necessarily  be 
crude  and  unsightly.  He  can  but  feel  that  he 
has  failed,  and  consequently  he  loses  interest. 
Give  him  something  that  he  can  do  well,  and 
then  require  some  standard,  some  degree  of  ex- 
cellence. When  this  is  reached  introduce  him 
to  something  higher,  thus  leading  him  from 
one  success  to  another. 

In  all  work  the  quality  and  not  the  quantity 
should  be  considered.  This  does  not  mean  that 
we  should  expect  perfect  results;  but  it  does 
mean  that  poor  work  should  not  be  praised. 
The  child  will  usually  estimate  his  own  work 
correctly,  although  ne;iiiay  not  be  able  to  see 


Foreword.  7 

why  he  failed.  It  is  here  that  the  wise  teacher 
will  bridge  the  difficulty  successfully  by  com- 
mending the  effort  and  suggesting  the  way  by 
which  better  results  may  be  obtained  in  the 
future. 

Another  mistake  is  made  by  giving  the  child 
too  much  work.  This  is  done  by  allowing  the 
classes  to  work  on  an  exercise  too  long  at  a 
time,  or  in  giving  the  same  exercise  at  too  fre- 
quent intervals.  The  first  is  apt  to  overtax  the 
child,  the  latter  prevents  the  desire  for  more, 
and  both  endanger  his  appreciation  and  inter- 
est. If  the  teacher  will  bear  this  in  mind,  she 
will  find  that  the  child  is  stimulated  to  do  his 
best  because  of  his  present  happiness  in  doing 
the  work  and  the  thought  of  that  which  is  to 
follow. 

Although  at  first  results  may  not  be  entirely 
satisfactory,  one  must  remember  the  ultimate 
aim  of  the  exercise  is  the  development  of  the 
child,  and  not  the  making  of  articles  to  exhibit 
for  the  glorification  of  teachers  and  supervisor. 

In  order  to  obtain  the  best  results  in  the  de- 
velopment of  the  child,  it  is  necessary  to  enlist 
the  sympathy  and  co-operation  of  the  parents, 
who  are  always  ready  to  respond  and  enter 
into  any  scheme  that  furthers  his  advancement. 
A  piece  of  work  well  done  taken  into  the  home 


8  Practical  Basketry. 

will  generally  create  an  interest  in  the  child's 
whole  school  life. 

In  selecting  work  that  is  suitable  for  the 
school-room,  many  things  must  be  considered 
—limited  time,  lack  of  space,  size  of  the  ma- 
terial used,  and  the  necessary  tools. 

Upon  investigating  different  material,  we 
find  that  vegetable  fibre  offers  many  advan- 
tages over  others,  among  which  are  its  light- 
ness, cleanliness,  durability.  This  material 
may,  in  many  cases,  solve  the  expense  problem, 
as  a  great  majority  of  country  schools  will  be 
able  to  provide  their  own  supply.  The  variety 
of  articles  that  can  be  made  from  it  is  so  great 
that  there  will  be  no  danger  of  an  over-supply, 
which  is  detrimental  to  the  interest  in  any  kind 
of  work.  The  waste-basket,  work-basket,  and 
many  other  articles  are  in  great  demand  on 
account  of  their  useful  and  decorative  qual- 
ities. One  of  the  chief  difficulties  has  been 
to  provide  industrial  work  that  would  be  suit- 
able for  mixed  schools,  and  the  strongest  argu- 
ment in  favor  of  the  introduction  of  basketry 
is  the  interest  which  is  manifested  in  it  by  the 
boys.  They  seem  to  enjoy  it  even  more  than 
the  girls,  and  the  prospect  of  working  on  a 
basket  has  often  proved  an  incentive  to  study 
when  everything  else  has  failed. 

There  is  such  a  fascination  about  basket- 


Oh,  this  is  fun! 


io  Practical  Basketry. 

work !  One  seems  to  put  himself  into  the  con- 
struction. The  pupil  has  a  tangible  proof  of 
conscientious,  careful  work  in  the  completed 
article.  He  feels  that  it  is  worth  while  to  try, 
and  the  remark,  "Oh,  what's  the  use?"  is  often 
eliminated  from  the  boy's  vocabulary. 

But  basketry,  although  it  has  so  many 
recommendations  in  its  favor,  and  will  prob- 
ably push  its  way  to  the  front,  is  only  one  of 
the  many  occupations  that  should  find  a  place 
in  our  course  of  study.  With  so  much  native 
material  that  may  be  used,  and  such  an  unlim- 
ited number  of  beautiful  articles  that  may  be 
made,  it  gives  the  child  a  wonderful  opportun- 
ity to  discover,  reproduce,  and  create. 


I. 

Introduction. 

The  necessity  for  proving  the  value  of  indus- 
trial education  is  past.  The  country  knows 
and  recognizes  this  value,  as  do  the  hest  educa- 
tors of  all  nations.  Nor  is  it  any  longer  neces- 
sary to  urge  that  weaving,  basket -making,  and 
other  simple  methods  of  employing  the  hand 
of  the  child,  may  be  easily  and  profitably  in- 
troduced into  the  schools  of  to-day,  without  in- 
terfering with  the  ordinary  plan  of  work,  and 
without  diminishing  the  so-called  scholarly  at- 
tainments of  the  children. 

Over  and  over  again  has  it  been  proved  in 
city  and  country  schools  that  the  children  will 
make  baskets  and  weave  mats,  sew  and  knit, 
draw  and  paint,  and  do  all  deftly,  and  learn 
just  as  much  arithmetic,  spelling,  reading 
and  writing,  as  children  in  those  schools  where 
none  of  these  things  are  taught.  And  the 
glory  of  it  all  is  that  they  have  done  it  all  so 
much  more  easily,  so  much  rest  and  good  cheer 


ii 


Introduction.  1 3 

have  come  in  with  the  employment  of  the  hand, 
that  the  memory  of  even  learning  definitions  is 
no  longer  weariness  and  pain. 

There  are  many,  however,  who  acknowledge 
the  advantage  of  this  work,  and  would  gladly 
give  their  pupils  the  pleasure  and  profit  which 
it  brings,  who  do  not  attempt  it,  simply  because 
of  certain  homely  practical  difficulties  in  the 
way.  They  have  not  themselves  had  instruc- 
tion, and  there  are  many  little  matters  of 
manipulation,  trifling  in  themselves,  and  easily 
overcome,  when  one  sees  how,  that  make  the 
wise  teacher  hesitate.  She  does  not  want  to 
undertake  to  teach  what  she  does  not  thorough- 
ly understand.  To  meet  her  need  this  little 
book  is  published.  It  gives  simple,  practical 
instruction  as  to  ways  and  means. 

But  there  is  another  difficulty  that  is  pre- 
venting the  children,  especially  of  the  country 
schools,  from  getting  the  pleasure  and  profit 
of  this  training  of  the  hand  and  eye.  The 
materials  cost  too  much.  In  schools  where  it  is 
difficult  to  get  necessary  books  the  teacher  does 
not  dare  to  ask  for  an  additional  appropriation 
for  raffia,  wool,  etc.  But  right  here  in  the 
country  are  materials  at  hand  in  abundance,  if 
teacher  and  children  only  knew  how  to  use 
them.  Hundreds  of  teachers  will  gladly  wel- 
come practical  suggestions  which  enable  them 


14  Practical  Basketry. 

to  avail  themselves  of  these  resources.  And 
the  rushes,  the  corn  husks  and  the  grasses  which 
they  have  themselves  prepared  are  far  more 
valuable  from  an  educational  standpoint  than 
any  supplies  which  come  without  effort.  There 
is  perhaps  no  more  urgent  need  than  the  power 
to  utilize  for  comfort  and  beauty  the  common 
things  that  are  going  to  waste  right  about  us. 
To  teach  this  lesson  is  the  mission  of  this  book. 

MARIA  L.  SANFORD., 

Prof,  of  Rhetoric  and  Elocution,  University 
of  Minn. 


II. 

Materials. 

IMPORTED   MATERIAL. 

Rattan  is  a  kind  of  palm  which  grows  in  the 
forests  of  India,  twining  about  trees  and  hang- 
ing from  the  branches.  It  sometimes  attains 
the  length  of  a  thousand  feet.  It  is  imported 
into  this  country  stripped  of  leaves  and  bark, 
and  split  into  round  or  flat  strips  of  various 
sizes,  which  are  called  reeds,  but  as  rattan  is  the 
more  common  name,  we  shall  use  it  through- 
out the  book.  The  reeds  are  numbered  by  man- 
ufacturers, No.  1  being  the  finest. 

Raffia  comes  from  the  island  of  Madagascar, 
and  is  the  Malagsy  name  for  the  palm.  A  leaf 
of  this  palm  produces  long  green  divisions,  two 
to  five  feet  in  length,  like  the  leaf  of  the  sugar 
cane,  and  after  being  dried  in  the  sun  assumes 
a  straw  color. 

Palm  Leaf. — The  palm  leaf  is  a  product  of 
a  palm  in  Cuba.  It  is  imported  in  the  leaf  and 
prepared  for  weaving  purposes  in  the  factory 

'5 


1 6  Practical  Basketry. 

by  being  bleached  from  its  original  greenish 
color  to  a  pure  white.  It  is  then  split  into  strips 
of  different  widths  and  numbered,  No.  1  being 
the  finest. 

Rush. — The  flat  or  braided  rush,  which  is 
imported  by  dealers  in  basket  material,  comes 
in  green  and  brown.  It  is  very  beautiful  when 
combined  with  rattan. 

Hemp  is  imported  from  the  Philippine 
Islands  and  is  used  for  making  ropes.  It  can 
be  colored  any  desired  shade,  and  is  very  useful 
either  as  a  thread  or  for  a  soft  coil. 

NATIVE  MATERIAL. 

We  are  not  dependent  upon  the  imported 
materials,  as  the  beautiful  Indian  baskets  will 
testify.  While  it  is  impossible  to  get  the  same 
material  that  the  Indians  use,  there  are  few  lo- 
calities but  furnish  a  supply  of  material  from 
which  we  can  make  articles  of  use  and  beauty. 
In  nature's  storehouse  will  be  found  beautifully 
colored  material,  so  that  the  vexed  question  of 
Vegetable  versus  Diamond  dyes  will,  in  a 
measure,  be  eliminated. 

Willow. — The  small  twigs  and  branches  of 
the  common  willow  that  grows  near  streams 
and  marshy  places  can  be  utilized  by  those  liv- 
ing near  them.  See  chapter  on  Native  Wil- 
lows. 


Materials.  1 7 

•+**•' 

Cat-tail  Leaves  should  be  gathered  before 
they  mature.  The  time  will  vary  in  different 
sections,  but  probably  some  time  in  July.  They 
should  be  slowly  dried.  The  Indians  split  the 
leaves  before  drying,  and  when  about  to  use 
them,  roll  them  against  the  leg  with  the  palm 


Fig.  3.— Cat-tail  Basket. 

of  their  hand.  The  leaves  can  be  used  as  spokes 
and  bands  in  baskets.  If  braided,  they  can 
be  used  instead  of  the  braided  rush.  The  braid 
can  also  be  sewed  into  a  simple,  round  basket. 

Flags  and  Rushes. — These  can  be  used  in 
the  same  way  as  the  cat-tail  leaves.  At  the  base 
of  the  flag  leaves  will  be  found  gorgeous  colors, 
which  can  be  used  to  good  advantage  in  giving 
a  touch  of  natural  coloring  to  some  basket. 

Straw. — Rye,  oat  and  wheat  straw  can  be 
made  to  do  service  in  this  work.  The  rye  straw 


1 8  Practical  Basketry. 

is  the  best  for  braiding,  as  it  has  longer  joints 
than  oats  and  wheat ;  the  other  two  can  be  used 
for  a  soft  coil. 

Grasses. — Wire     grass,     which     grows     so 
abundantly  in  many  places,  makes  very  beauti- 


Fig.  4. — Basket  made  of  Straw. 

ful  baskets,  plaques,  and  bags.  Many  other 
grasses  furnish  one  of  the  most  prolific  sources 
of  supply.  The  stalk  is  more  often  used  than 
the  leaves.  One  soon  learns  that  if  certain 
grasses  are  gathered  too  early  they  are  brittle. 
Some  grasses  should  be  cut  while  they  are  in 
the  seed,  and  others  when  ripe.  It  will  require 
long  study  and  experiment  to  obtain  the  best 


2O  Practical  Basketry. 

results  in  new  materials.  The  work  is  now  in 
its  early  stages,  and  there  is  still  much  to  learn. 

Corn  Husks. — The  fine  inner  corn  husks  can 
be  put  to  a  variety  of  uses.  They  are  rich  in 
color;  among  them  can  be  found  dark  reds, 
brilliant  pinks,  purples,  pea  green  and  dark 
yellow.  Red  pop  corn  gives  some  of  the  richest 
tones. 

Palmetto. — If  the  palmetto  buds  are  sepa- 
rated and  allowed  to  dry  and  bleach  for  several 
days  in  the  sun,  they  can  be  split  with  a  pin  into 
any  width  desired  and  used  in  the  same  way  as 
the  palm. 

Pine  Needles. — The  long  pine  needles  that 
grow  in  the  Southern  States  make  beautiful 
baskets.  They  may  be  gathered  when  fully  ripe 
and  dried,  or  those  may  be  used  that  have  fallen 
from  the  tree  to  the  ground.  The  latter  will  be 
found  in  soft  brown  shades. 

Maiden-hair  Fern. — The  stems  of  this  fern 
may  be  used  when  a  little  black  is  needed.  They 
are  unfading  and  are  of  a  glossy  black. 

Willow  Bark. — The  bark  from  the  willow 
twigs  when  dried  is  brown.  A  few  rows  of  this 
bark  worked  into  a  rattan  or  willow  basket 
would  produce  a  pleasing  effect. 

Cedar  Bark. — The  Indians  use  a  large  quan- 
tity of  this  bark  for  basket-making.  The 
foundations  of  many  of  their  finest  baskets  are 


Materials.  21 

made  from  it.  If  shaved  thin  and  cut  into  one- 
quarter-inch  wide  strips,  it  could  easily  be  made 
into  a  very  attractive  basket.  See  Plate  I. 

Honey-suckle  Vine. — I  see  no  reason  why 
this  vine,  that  grows  so  profusely  in  many  of 
the  Southern  States,  could  not  be  utilized  for 
basket  work.  It  could  be  peeled  in  the  same 
way  as  the  willow  twigs,  and  might  take  the 
place  of  rattan  for  some  purposes. 

I  trust  enough  has  been  said  to  arouse  an  in- 
terest in  gathering  and  adapting  new  material. 
There  is  a  large  field  for  the  enthusiastic 
worker. 

The  author  would  be  pleased  to  hear  of  any 
satisfactory  results  along  these  lines. 

EXPLANATION    OF    PLATE    I. 

No.  I.  The  Klikatat  Indians  live  inland, 
south  of  Mt.  St.  Helens,  and  belong  to  the 
Sabaptin  family. 

There  are  but  few  of  the  older  women  who 
are  now  making  baskets,  and  who  wonders, 
when  he  reads  the  description  given  by  Mrs. 
Velina  P.  Molson  of  the  materials  used  in  their 
manufacture. 

"To  gather,  prepare  and  manipulate  the  raw 
material  meant  time  and  arduous  labor.  The 
foundation  consists  of  roots  of  young  spruce 


o 

bic 


Materials.  23 

and  cedar  trees ;  it  was  macerated  and  torn  into 
thread-like  shreds,  and  soaked  for  weeks  and 
months  in  water  to  rid  it  of  any  superfluous 
vegetable  matter  and  to  render  it  strong  and 
pliable.  The  ornamentation  is  almost  all  made 
of  Xerophullum  Tenax,  which  is  commonly 
called  "squaw-grass."  It  grows  on  the  east 
side  of  the  Cascade  Mountains,  and  can  only  be 
gathered  during  the  late  summer,  when  the 
snow  has  melted  and  the  grass  has  matured." 

No.  2.  The  design  of  this  plaque  is  said  to 
represent  a  railway  engine  just  emerging  from 
a  tunnel  and  is  called  a  Moki  God.  The  row  of 
color  near  the  edge  is  supposed  to  be  the  track. 

No.  3.  "The  Digger  Indians"  are  the  re- 
mains of  a  people  who  are  fast  passing  away. 
They  may  be  found  in  the  foot  hills  and  slopes 
of  the  Sierra  Nevada.  Most  of  them  dress  in 
the  civilized  costume,  though  the  majority  still 
inhabit  the  rude  Wickiups  of  their  forefathers. 

The  collector  from  whom  this  basket  was 
purchased  said  none  of  their  baskets  are  now 
to  be  had,  except  from  private  collections. 

No.  4.  A  very  effective  basket,  made  from 
cedar  bark  in  brown  and  black. 

Nos.  5  and  6  are  Alaskan  baskets,  made  from 
some  tough  grass.  The  ornamentation  is  of  a 
different  material  and  only  appears  on  the  out- 
side. 


III. 

Rattan  Weaving. 

Tools. — A  sharp  knife,  a  pair  of  strong, 
sharp  shears,  a  long,  straight  awl,  or  large  knit- 
ting needle,  and  a  tape  line  are  all  that  are 
needed. 

Terms. — The  spokes  are  the  ribs  or  upright 
pieces  in  a  basket;  they  should  be  one  or  two 
sizes  larger  than  the  weaver.  The  weaver  is  the 
finer  rattan  that  is  wound  in  and  out  between 
the  spokes. 

Weaving. — The  simplest  form  of  all  is  the 


Fig.  7. — Under  and  Over  Weaving. 

"under  and   over"  weaving,  with   one  weaver 

and  an  odd  number  of  spokes. 

24 


I 


Rattan  Weaving.  25 

The  same  effect  is  produced  with  an  even 
number  of  spokes  by  using  two  weavers. 
Weave  around  with  one  and  then  the  other,  al- 
lowing the  second  weaver  to  go  under  the  spoke 
that  the  first  went  over,  and  over  the  spoke  that 
the  first  went  under.  Fig.  8. 


Fig.  8. — Two  Weavers,  one  following  the  other. 

Double  Weaving. — Two  weavers  are  used 
together.  Whole  baskets  can  be  made  with 
this  weave.  It  is  very  effective  used  as  bands 
on  plain  rattan  baskets. 


Fig.  9  — Double  Weaving. 


Pairing. — Two  weavers  are  inserted  behind 
two  succeeding  spokes   and  crossed  between 


26 


Practical  Basketry. 


them,  bringing  forward  the  under  weaver  each 
time.  This  can  he  used  on  an  odd  or  an  even 
number  of  spokes.  It  makes  a  good  finish  for 
a  mat  or  basket,  and  can  be  used  on  the  sides 
of  baskets  to  divide  different  weaves. 


Fig.  10.- — Pairing  or  Twining. 

Triple  Twist.— Three  weavers  are  placed  be- 
hind three  consecutive  spokes,  starting  with  the 
back  one — the  one  at  the  left — bring  it  forward 
to  the  right  over  the  two  other  weavers  and  be- 


Fig.  II.— Triple  Twist. 

hind  the  third  spoke,    proceed   in   this  way, 
over  two  and  under  one. 


Rattan  Weaving.  27 

This  is  a  very  desirable  weave,  as  it  entirely 
covers  the  spokes.  For  this  reason  it  is  used  to 
cover  places  where  broken  spokes  have  been 
replaced,  and  at  the  bottom  of  baskets  where 
additional  spokes  have  been  inserted.  It  also 
makes  a  strong  finish  for  the  top  of  a  large 
basket. 

Amount  of  Material. — The  rattan  varies  so 
in  length  that  it  is  impossible  to  indicate  by  the 
number  of  strips  the  quantity  needed  for  a 
given  basket. 

In  estimating  the  length  of  spokes,  decide  on 
diameter  of  bottom  and  height  of  sides.  The 
spokes  should  be  long  enough  to  extend  up 
both  sides  and  across  the  bottom,  allowing  on 
each  end  of  spoke  not  less  than  three  inches  for 
a  simple  border  and  more  for  a  more  elaborate 
finish. 

If  the  bottom  of  the  basket  is  four  inches  in 
diameter  and  three  inches  high,  it  will  require 
eight  spokes  sixteen  inches  and  one  nine  inches 
long.  When  the  eight  spokes  are  crossed  in 
the  center,  four  on  each  side,  and  the  one  half 
spoke  added  on  one  side,  there  will  be  seventeen 
spokes  radiating  from  the  center.  With  this 
number  the  spokes  are  more  easily  kept  in 
place,  and  the  desired  shape  is  obtained  with 
less  difficulty. 

In  beginning  rattan  mats  and  baskets,  one 


Rattan  Weaving.  29 

strand  of  raffia  may  be  used   in  binding   the 
spokes  together  and  weaving  the  rest  of  the 
strand  around  the  center.     The  raffia  is  more 
easily  handled  and  it  makes  a  neater  center. 
See  Nos.  1,  2,  and  3    Fig.  12. 


IV. 

.    Rattan   Mats. 

It  is  not  the  purpose  of  this  book  to  exhaust 
the  subject  of  rattan  work,  but  only  to  give  a 
few  hints  and  suggestions  that  may  enable  a 
beginner  to  go  on  with  the  work. 

Rattan  should  not  be  soaked  in  water  for  any 
length  of  time;  being  porous,  it  only  needs  to 
be  dipped  two  or  three  times  to  make  it  pliable. 

A  mistake  is  often  made  by  not  using 
enough  spokes  to  make  the  work  firm  and  dur- 
able. A  close  border  cannot  be  made  in  a  sat- 
isfactory manner  if  the  spokes  are  too  far 
apart. 

Mat. — Cut  six  pieces  of  Xo.  3  rattan  12 
inches  long,  and  one  piece  7  inches  long.  Shave 


Fig.  13. — Split  Spoke. 

to  a  short  point  one  end  of  three  long  pieces 
and  one  end  of  the  short  piece.    Make  a  small 

3° 


Rattan  Mats. 


31 


slit  through  the  center  of  the  other  three.  Push 
the  three  pointed  pieces  through  these  slits,  one 
at  a  time,  down  to  the  center.  When  one  is  in 
place,  the  others  can  be  easily  pushed  in  on 
either  side.  Hold  firmly  in  the  left  hand  with 
the  split  spokes  in  a  horizontal  position.  Insert 
the  pointed  end  of  the  short  piece  through  the 
slits  in  the  horizontal  pieces  between  the  first 
and  second  vertical  spokes,  taking  care  that  it 
only  extends  through  to  the  other  side  of  these 
spokes.  See  Fig.  14. 

Place  the  large  end  of  a  strand  of  raffia  in 
front  of  the  upper  vertical  spokes  with  the  end 


I  '' 


Fig.  14. — Spokes  Threaded  for  Round  Base. 

toward  the  left.     Bring  this  strand  down  be- 
hind the   horizontal  spokes  at   the  right,  then 


32  Practical  Basketry. 

over  the  lower  vertical  spokes  and  up  behind 
the  horizontal  ones  at  the  left,  then  down  over 
the  horizontal  spokes  at  the  left — this  binds  the 
first  end  of  the  raffia — behind  the  lower  vertical 


Fig.  15. — Starting  Weaver. 

spokes  up  over  the  right  horizontal  ones,  across 
behind  the  uuper  vertical  spokes.  This  brings 
the  weaver  to  the  upper  left-hand  corner.  Be- 
gin to  weave  over  and  under  around  the  center 
from  left  to  right,  pulling  the  weaver  down 
close  to  the  center.  Fig.  15. 

Great  care  must  be  taken  that  the  spokes  are 
evenly  separated  by  the  time  the  third  row  is 
woven,  so  that  the  spokes  come  out  in  a  straight 
line  from  the  center. 

When  one  strand  of  raffia  has  been  used,  a 


Rattan  Mats. 


33 


weaver  of  No.  1  rattan  is   inserted   behind   a 
spoke  and  the  weaving  continued. 

It  will  be  necessary  to  hold  on  to  the  end  of 
the  rattan  weaver,  to  prevent  its  slipping,  until 
the  weaver  passes  over  it  in  weaving  the  second 
row.  This  will  bind  it  firmly.  Bring  each  row 
down  to  the  preceding  one.  The  rattan  should 
not  be  drawn  too  tight,  as  the  mat  must  be  kept 
flat.  If  a  full  length  weaver  is  used,  it  will 


Fig.  1 6. — Beginning  to  Weave  with  Rattan. 


make  a  small  mat  without  splicing.    When  the 
mat  is  finished,  the  end  of  the  weaver  is  passed 
under  the  last  row  of  weaving  and  behind  the 
next  spoke.    Then  it  is  ready  for  the  border. 
A  center  may  be  begun  without  slitting  the 


34  Practical  Basketry. 

spokes.  They  can  be  simply  crossed  and  bound 
together,  as  has  already  been  explained.  This 
is  not  so  desirable,  since  it  is  more  clumsy,  espe- 
cially for  mats. 

When  an  open  center  is  made  and  the  spokes 
used  in  groups,  they  should  always  be  crossed. 
In  this  case  the  weaving  does  not  begin  close 
to  the  center  so  the  thickness  is  not  so  apparent. 
See  No.  4,  Fig.  24. 

Heavier  mats  may  be  made  by  using  the 
pairing  stitch  or  the  triple  twist.  See  Nos.  3 
and  4,  Fig.  12. 

EXPLANATION    OF    PLATE    II. 

Nos.  1  and  2  are  Hoopa  squaw  caps,  some- 
times called  Shasta  baskets,  because  some  of 
the  material — squaw-grass — from  which  they 
are  made,  grows  on  Mt.  Shasta.  They  are 
nearly  all  of  the  same  shape  and  size,  but  no 
two  are  ornamented  in  the  same  way. 

Nos.  3  and  5.  The  Skokomish  Indians  oc- 
cupy the  upper  shores  of  Puget  Sound.  "This 
weave  is  growing  rarer  as  the  years  go  by. 
The  weavers  have  gradually  decreased  in  num- 
bers, until  now  the  tribe  is  almost  extinct."  On 
all  the  baskets  made  by  these  Indians  will  be  a 
row  of  animals  around  the  top.  They  are  all 
alike,  with  the  exception  of  the  curl  in  the  tail. 


36  Practical  Basketry. 

If  the  tail  curls  up,  it  is  supposed  to  be  a  dog; 
if  down,  a  wolf. 

George  Wharton  James,  to  whom  I  am  in- 
debted for  much  of  the  information  regarding 
these  baskets,  says:  "Of  the  few  good  Skoko- 
mish  weavers  left,  Sarah  Crew  is  said  to  be  the 
best,  and  she  will  only  work  when  the  weather 
is  damp  and  rainy,  as  she  says  otherwise  her 
grasses  crack  and  split."  These  baskets  are 
made  of  squaw-grass,  and  some  other  strong 
material.  The  grass  is  woven  on  the  outside 
for  ornamentation,  and  takes  on  a  high  polish 
with  use  and  age. 

No.  4  is  like  No.  5  in  Plate  I,  only  smaller. 

No.  6  is  a  Porno  meal  tray. 


V. 
Borders. 

Open  Border,  No.  1. — The  spokes  should  ex- 
tend three  inches  beyond  the  last  row  of  weav- 
ing. Measure  carefully  and  cut  them  of  a  uni- 
form length.  Shave  the  ends  so  that  they  will 
readily  push  down  between  the  weavers. 


Fig.  17. —  Open  Border  No.  I. 

Hold  the  spokes  in  water  until  pliable. 
Spoke  No.  1  is  pushed  down  beside  spoke  No.  2 
until  the  desired  size  scollop  is  made,  and  No.  2 
beside  No.  3,  and  so  on  around  the  edge. 

Open  Border,  No.  2. — For  this  border  the 

37 


38  Practical  Basketry. 

spokes  should  be  four  inches  long1.     Spoke  No. 

1  is  brought  forward  to  the  right  in  front  of 
No.  2,  and  pushed  down  beside  No.  3.    No.  2 
is  brought  forward  to  the  right  in  front  of  No. 

3,  and  pushed  down  beside  No.  4.    Continue  in 
this  way  around  the  edge.    See  No.  1,  Fig.  12. 

Twisted  Border,  No.  1. — This  is  a  very  sim- 
ple close-twisted  border,  suitable  for  mats, 
baskets  and  covers.  Spoke  No.  1  is  brought 
forward  to  the  right  over  Nos.  2  and  3,  and  be- 
hind No.  4,  close  down  to  the  weaving.  No.  2 
is  brought  forward  to  the  right  over  Nos.  3  and 

4,  and  behind  No.  5,  and  so  on  around  the  edge 
until  finished.     The  ends  are  then  cut  off  just 
long  enough  to  allow  each  end  to  lie  across  the 
next  spoke.    See  No.  4,  Fig.  12. 

Twisted  Border,  No.  2. — Spoke  No.  1  is 
brought  back  to  the  right  of  No.  2  and  forward 
over  No.  3,  then  back  over  No.  4.  Spoke  No. 

2  is  brought  back  of  No.  3  and  forward  over 
No.  4,  and  then  back  of  No.  5.    Proceed  in  this 
way  with  the  rest  of  the  spokes.    Then  the  ends 
are  cut  off,  as  in  border  No.  1.     See  No.  3, 
Fig.  12. 

A  Heavy  Border. — This  border  is  suitable 
for  large  baskets.  Bend  the  first  spoke  back 
of  the  second  out  in  front  between  second  and 
third.  Bend  the  second  spoke  back  of  the  third 
out  in  front  between  third  and  fourth.  Bend 


Borders.  39 

the  third  spoke  back  of  the  fourth  out  in  front 
between  the  fourth  and  fifth.  See  Fig. 
18.  Now  take  the  end  of  the  first  spoke  that 


Fig.  18.— Detail  of  Heavy  Border. 

has  already  been  bent  around  the  second,  bring 
it  forward  in  front  of  the  third  and  fourth, 
back  of  the  fifth  out  in  front  between  the  fifth 
and  sixth,  and  bend  down  by  the  side  of  this  the 
first  upright  spoke  at  the  left,  which  will  be 
the  fourth  spoke  from  the  first  one  bent.  There 
will  now  be  two  bent  spokes  between  the  fifth 
and  sixth.  There  will  also  be  two  between  all 
the  succeeding  spokes,  a  short  one  and  a  long 
one.  See  Fig.  19.  The  long  one  is  to  be  used 
again  and  the  short  one  left  where  it  is  and  cut 
off  after  the  border  is  finished.  Take  the  end  of 
the  second  spoke;  bring  it  forward  in  front  of 
the  fourth  and  fifth  and  back  of  the  sixth,  and 
out  in  front  between  the  sixth  and  the  seventh, 
arid  then  bend  down  beside  it  the  upright  spoke 


40  Practical    Basketry. 

at  the  left,  which  will  be  the  fifth  one  from  the 
first  one  bent. 

The  end  of  the  third  spoke  should  then  be 
brought  forward  in  the  same  way.    The  long 


Fig.  19.— Detail  of  Heavy  Border. 

end  between  the  spokes  will  be  the  one  to  be 
brought  forward  each  time  in  the  rest  of  the 
border.  When  the  border  is  finished  cut  off  the 
short  ends  of  the  spokes  close  up  to  the  border. 


VI. 

Rattan  Baskets. 

The  old  saying  that  "a  poor  beginning 
makes  a  good  ending"  does  not  apply  to  bas- 
kets. The  beginning  of  a  basket  has  much  to  do 
with  the  strength  and  symmetry  of  the  finished 
article. 

It  is  quite  unnecessary  to  describe  one  basket 
after  another  in  rattan  work,  for  they  are  so 
much  alike  that  after  one  has  made  a  few 
simple  shapes  he  is  able  to  copy  anything  that 
he  may  see,  or  to  invent  new  designs  for  him- 
self. 

If  possible  avoid  making  an  article  for  the 
purpose  of  learning  the  construction,  that  will 
not  be  fairly  satisfactory  when  completed. 

Jardiniere. — For  the  first  attempt  one  may 
cover  a  flower-pot,  see  No.  1,  Fig.  20,  as  it  will 
be  both  useful  and  ornamental.  If  a  pot  se- 
lected measure  3  inches  across  the  bottom  and 
is  5  inches  deep,  eight  spokes  should  be  cut  21 
inches  long  and  one  11  inches  long.  When 

41 


Rattan  Baskets. 


43 


bound  together  there  will  be  seventeens  pokes 
radiating  from  the  center.  See  Fig.  16.  In 
making  large  baskets  the  number  of  spokes, 
size  and  length  of  rattan  must  be  considered. 
Dip  the  spokes  in  water  and  begin  the  center 
the  same  as  for  a  mat.  When  it  is  large  enough 
to  cover  the  bottom  of  the  flower-pot,  wet 
spokes  again  and  turn  them  up  on  the  sides. 
In  beginning  to  weave  the  sides  care  should  be 
taken  to  bring  each  row  up  close  to  the  preced- 
ing one,  keeping  the  spokes  evenly  separated. 
In  joining  weavers  simply  cross  the  ends  be- 
hind a  spoke.  See  Fig.  21.  When  the  sides 


Fig.  21. — Joining  Rattan. 

are  covered,  weave  three  rows  of  pairing 
around  the  top.  Finish  with  a  No.  2  border. 
A  small  work-basket  could  be  made  using  the 
same  diameter  for  the  bottom,  and  making  the 
sides  one  half  as  deep — two  and  one-half 
inches.  This  would  require  eight  spokes  16 
inches  long  and  one  9  inches  long.  The  sides 
of  the  basket  should  flare  more  than  the  flower- 


44 


Practical  Basketry. 


pot.     This  can  easily  be  done  by  holding  the 
spokes  out  as  far  as  desired. 

Beginners  often  find  it  difficult  to  make  a 
basket  that  will  stand  straight  and  not  tip  to 
one  side.  No  matter  how  careful  one  has  been 
to  make  the  bottom  flat,  it  will  bulge  some  in 
the  center  when  the  spokes  are  turned  up  for 
the  sides.  To  avoid  this,  the  center  must  be 


Fig.  22. — Oval  Center. 

slightly  concave,  and  this  can  be  easily  man- 
aged. While  weaving  with  the  raffia,  place  the 
thumb  on  the  center  and  push  it  in,  bringing 
the  spokes  toward  the  worker  while  the  weaver 


Rattan  Baskets. 


45 


is  pulled  tight  enough  to  hold  them  there. 
When  the  rattan  weaver  is  inserted  one  can 
continue  to  weave  a  few  rows  in  the  same  way. 
Then  make  the  rest  of  the  bottom  flat. 

In  making  large  baskets  it  is  better  to  make 
the  bottom  like  the  willow  basket,  and  then  add 
the  side  spokes  by  inserting  one  on  either  side 
of  the  bottom  spoke,  thus  making  twice  as 
many  side  spokes  as  there  are  in  the  bottom. 


Fig    23. — Showing  Two  Strands  of  Rattan. 

The  bottom  of  oval  baskets  should  be  made 
in  the  same  way. 

The  only  difference  between  making  a  round 
and  an  oval  basket  is  in  starting  the  center.  It 


46  Practical  Basketry. 

is  well  to  weave  the  bottom  of  an  oval  basket 
with  two  weavers,  either  using  the  pairing 
stitch  or  allowing  one  weaver  to  follow  the 
other,  see  Fig.  23,  thus  doing  away  with  the 
odd  spoke.  The  odd  spoke  in  an  oval  basket 
makes  the  ends  uneven. 

Arrange  the  center,  as  seen  in  Fig.  22,  with 
short  spokes  three-fourths  of  an  inch  apart  on 
the  sides  and  two  together  on  either  end. 
Spokes  can  be  added  in  the  center,  according  to 
the  size  of  the  basket  desired.  One  can  easily 
start  an  oval  basket  with  rattan  weaver  instead 
of  raffia.  The  round  ones  may  also  be  started 
with  rattan.  The  raffia  was  suggested,  as  it  is 
easier  for  children  to  make  a  tight,  smooth  cen- 
ter with  the  raffia. 

Children  in  the  third  grade  can  readily  make 
simple  rattan  baskets.  They  should  not,  how- 
ever, use  rattan  larger  than  No.  4. 


VII. 

Handles,       Covers,       Hinges,       and 
Fastenings. 

Handles. — Cut  a  piece  of  rattan  several  sizes 
larger  than  the  spokes,  for  a  foundation  handle. 
Shave  both  ends.  Push  one  end  down  through 
the  border  beside  a  spoke.  It  should  extend 
two-thirds  the  way  down  the  basket.  Use  a 
large  knitting  needle  to  crowd  the  weavers 
apart.  Push  the  other  end  down  in  the  same 
way  on  the  opposite  side  of  the  basket.  See 
Fig.  24. 

Insert  a  pliable  weaver  just  below  the  border 
on  the  outside  at  the  right  of  one  side  of  the 
handle,  allowing  the  end  to  run  down  beside  a 
spoke  on  the  inside. 

Twist  the  weaver  three  or  four  times  around 
the  handle,  according  to  its  length.  On  the  op- 
posite side  the  weaver  is  brought  over  the  bor- 
der through  to  the  inside  of  basket,  out  on  the 
other  side  of  the  handle,  up  over  border,  and 
then  follow  beside  the  first  weaver  around  the 

47 


Hinges  and  Fastenings.  49 

**• 

handle.  Now  bring  the  weaver  over  border 
through  to  the  inside  of  basket,  out  on  the  other 
side  of  the  handle,  then  up  over  border,  and 
follow  the  second  weaver  on  the  handle.  Each 
row  must  follow  closely  the  preceding  one,  un- 
til the  foundation  handle  is  entirely  covered,  so 
that  another  row  cannot  be  crowded  in.  The 
last  weaver  is  brought  inside  the  basket  and  the 
end  is  pushed  down  beside  the  handle. 

Covers. — Plain  covers  should  be  begun  and 
made  like  the  bottom.  They  may  be  either  flat 
or  the  spokes  can  be  bent  up  slightly  from  the 
center,  thus  forming  a  rounded  surface.  They 
should  be  just  large  enough  to  cover  the  top  of 
the  basket,  and  be  finished  with  a  close-twisted 
border. 

Hinges  and  Fastenings. — Rings  made  of 
rattan  are  very  simple  and  effective  for  this 
purpose. 

Take  a  piece  of  rattan  ten  or  twelve  inches 
long  and  soak  it  until  pliable.  Tie  a  knot  near 
one  end,  forming  a  ring  not  over  three-quarters 
of  an  inch  in  diameter.  The  other  end  is  then 
twisted  over  and  under  the  ring  once  around. 
Or  it  may  be  twisted  several  times  around  if  one 
wishes  a  heavier  ring.  These  can  be  fastened  to 
the  basket  by  using  a  short  piece  of  small,  pli- 
able rattan.  Pass  the  rattan  around  a  spoke 
through  the  ring,  then  back  again  to  the  inside. 


50  Hinges  and  Fastenings. 

Cross  the  ends  and  push  them  in  beside  a  spoke 
in  opposite  directions.  Fasten  one  ring  on  the 
back  of  the  cover  and  attach  it  to  the  basket  for 
a  hinge,  another  on  the  front  of  the  cover,  and  a 
third  on  the  front  of  the  basket.  This  should 
be  smaller,  so  that  it  will  pass  through  the  one 
on  the  cover. 


Fig.  25.— Willow  Basket. 


VIIL 

Native  Willow  Baskets. 

This  chapter  is  written  to  aid  those  who  may 
be  able  to  utilize  the  common  willow  that  grows 
so  profusely  in  many  localities.  Aside  from 
the  convenience  of  having  a  supply  of  material 
near  at  hand  from  which  to  draw,  it  gives  an 
added  value  to  a  basket  if  one  has  gathered  and 
prepared  the  material  from  which  it  is  made. 

The  twigs  of  the  willow  may  be  cut  at  any 
time  after  they  have  stopped  growing,  which  is 
some  time  in  August. 

Place  a  bundle  of  twigs  in  a  common  wash 
boiler  with  half  a  pail  of  water.  Allow  the 
water  to  boil,  thus  steaming  the  twigs  until  the 
bark,  when  crushed,  can  be  readily  stripped  off, 
leaving  a  smooth,  polished  surface.  The  bark 
must  not  be  scraped  off,  as  this  treatment  will 
make  the  surface  rough  and  uneven. 

In  some  cases  the  willows  may  be  used  with- 
out removing  the  bark.  The  Indians  f  requent- 

52 


Native  Willow  Baskets. 


ly  use  it  in  this  way  for  a  coil  basket,  when  the 
coil  is  covered. 

For  crushing  the  bark  after  steaming,  a 
wooden  peeler  must  be  used — an  iron  one  is 
used  for  larger  willows.  This  may  be  made 
from  a  branch  of  green  hard  wood,  three- 
fourths  of  an  inch  in  diameter  and  about  six 
inches  in  length.  Split 
this  through  the  center 
for  one-half  its  length. 
Then  split  again  at 
right  angles  to  the  first, 
thus  dividing  into  four 
equal  parts.  Now  cut  out 
one-quarter  on  one  side, 
and  another  on  the  op- 
posite side,  leaving  the 
two  sharp  edges  of  the 
remaining  two-quarters  to 
Fig.  26.  Fig.  27.  form  the  peeler.  Fig.  27. 
Shave  the  ends  of  the  two  quarters  from  the 
inside  out,  so  that  the  twigs  will  readily  slip 
between  them.  Take  the  steamed  twig  and 
slip  the  larger  end  into  the  peeler  and  pull  it 
through,  pressing  the  peeler  together  wi^h  the 
thumb  and  finger.  When  treated  in  this  way, 
the  bark  may  readily  be  removed  with  the  fin- 
gers. 

The  best  time  to  cut  the  willows  is  in  the 


54  Practical  Basketry. 

spring,  just  as  the  sap  begins  to  flow  freely. 
They  can  then  be  taken  from  the  tree  and  run 
through  the  peeler  without  steaming.  These 
are  called  "sap  willows"  and  will  not  discolor 
so  much  with  age  as  the  "steamed  willows." 

A  large  quantity  may  be  prepared  at  one 
time  and  allowed  to  dry.  When  needed  for 
use  they  should  be  dipped  in  water  and  rolled  in 
a  wet  cloth  until  pliable. 

As  the  willows  are  in  short  pieces,  the  method 
of  weaving  is  somewhat  different  from  that 
used  in  rattan  work. 

For  a  basket  measuring  three  and  a  half  or 
four  inches  across  the  bottom,  select  one  hun- 
dred or  more  willow  twigs,  the  large  ends  of 
which  correspond  to  Nos.  2,  3,  and  4  rattan. 
More  must  be  prepared  than  are  really  needed, 
as  there  is  always  a  waste.  (Fig.  25). 

Cut  off  about  three-fourths  of  an  inch  from 
the  butt  end  of  each  twig;  if  the  end  is  left  on 
the  work  will  be  clumsy.  Before  beginning 
work  be  sure  that  the  willows  are  pliable. 

Select  six  of  the  largest  twigs  and  cut  a  piece 
four  and  a  half  inches  from  the  large  end  of 
each.  Make  a  small  slit  in  the  center  of  three 
of  these  pieces  and  push  the  other  three  through 
them  down  to  the  center.  These  will  form  the 
bottom  spokes.  It  is  not  necessary  in  this  basket 
to  add  the  odd  spoke. 


Native  Willow  Baskets. 


55 


Take  two  of  the  smallest  twigs  to  bind  around 
the  center  (Fig.  28),  using  the  twining  stitch. 
Weave  around  the  four  groups  of  spokes  two 


Fig.  28. 

or  three  times,  crossing  in  the  corners;  then  go 
on  with  the  same  weave  and  separate  the  spokes. 

When  a  new  weaver  is  needed  insert  the 
large  end  of  another  twig  behind  the  spoke 
where  the  old  one  ends,  and  continue  to  weave 
in  this  way  until  the  bottom  is  three  or  four 
inches  in  diameter.  Then  cut  the  ends  of  the 
spokes  off  close  to  the  last  row  of  weaving. 

Take  twenty-four  of  the  largest  twigs. 
Shave  each  large  end  and  insert  one  between 
the  weavers  on  each  side  of  the  twelve  bottom 


56  Practical  Basketry. 

spokes,  allowing  the  ends  to  extend  well  in 
toward  the  center.  Bend  these  up  to  form  the 
side  spokes,  and  tie  the  upper  ends  together  to 


Fig.  29. — Spokes  tied  together. 

hold  them  in  place.  Allow  them  to  remain  tied 
until  about  one-half  inch  of  the  side  has  been 
woven. 

Now  take  twenty-four  more  twigs.  Shave 
the  ends  and  insert  one  on  the  outside  of  each 
side  spoke,  making  twenty-four  side  weavers. 


Native  Willow   Baskets.  57 

r*r 

Begin  at  any  place  to  weave  by  passing  one 
of  the  weavers  to  the  right  over  three  spokes 
and  behind  the  fourth  and  out  in  front  between 
the  fourth  and  fifth  spokes.  Take  the  next 
spoke  to  the  left  of  the  first  one  used  and  weave 
in  the  same  way  over  three  to  the  right,  behind 
the  fourth  and  out  to  the  front  between  the 
fourth  and  fifth.  Continue  to  do  this  until  the 
starting  place  is  reached.  This  will  make  a 
triple  twist  around  the  bottom. 

There  will  now  be  one  weaver  between  all  the 
spokes.  At  this  point  the  real  weaving  of  the 
side  begins.  Take  any  weaver  and  pass  it  to 
the  right  over  one  spoke  and  under  the  next 
one.  Where  this  weaver  comes  out  between  the 
spokes,  there  will  now  be  two  weavers,  but  one 
will  see  that  there  is  a  weaver  behind  the  spoke 
to  the  left  that  will  go  in  between  them  when 
woven.  Take  the  next  weaver  to  the  left  and 
pass  it  to  the  right,  over  one  spoke  and  under 
the  next  one.  Pass  the  next  weaver  to  the  right 
over  one  spoke  and  under  the  next  one ;  over 
another  and  under  another.  Take  the  fourth 
weaver  and  pass  it  over  one  and  under  one; 
over  another  and  under  another.  There  will 
now  be  five  spokes  that  have  no  weavers 
between  them,  thus  leaving  four  spaces  with- 
out weavers.  This  arrangement  helps  one  to 
weave  more  rapidly.  The  rest  of  the  weavers 


58  Practical   Basketry. 

to  the  left  will  be  woven  over  one  and  under 
one,  over  another  and  under  another  until 
the  starting  point  is  reached.  Then  there  will 
be  a  weaver  extending  out  between  each  spoke. 


Fig.  30. — Weaving  begun. 

Proceed  as  in  the  beginning  after  the  triple 
twist  was  woven  around  the  bottom,  and  con- 
tinue to  weave  as  before. 

When  the  full  length  of  the  weavers  has 
been  used,  insert  a  new  set,  one  behind  each 
spoke,  and  go  on  with  the  weaving  as  in  the  be- 
ginning. Join  all  the  weavers  at  the  same  time. 


Native  Willow  Baskets  59 

r.*f 

This  should  be  done  when  there  is  a  weaver  be- 
tween each  spoke. 

When  the  top  has  been  reached,  take  three 
of  the  largest  twigs  and  make  a  triple  twist 
around  the  basket.  Four  weavers  can  be 
worked  in  the  same  way.  Finish  by  making  the 
heavy  border — the  last  one  given  in  the  chapter 
on  borders — with  the  spokes. 


IX. 

Articles   made  of  Raffia. 

There  is  scarcely  any  other  material  that 
lends  itself  to  so  many  uses,  both  artistic  and 
useful,  as  raffia.  It  can  be  used  in  place  of 
floss  to  embroider  screens,  pillows  and  portieres. 
When  done  in  a  Japanese  pattern,  the  result  is 
specially  pleasing. 

There  are  so  many  ways  in  which  braided 
raffia  can  be  used  that  a  few  simple  directions 
may  help  to  avoid  a  great  waste  of  material  and 
do  away  with  the  rough  unsightly  objects  that 
so  often  pass  for  industrial  work. 

1  have  no  sympathy  with  the  teacher  who, 
when  asked  if  she  would  present  a  crude,  rough 
piece  of  work,  which  she  held  in  her  hand,  as  a 
working  model,  replied :  "Oh,  it  will  do ;  it  will 
give  some  idea  of  the  work.  "  1 1  is  this  ''It  will 
do  "  idea  that  is  responsible  for  much  of  the 
inefficiency  of  the  present  time.  / 

Braiding. — Four  strands  are  the  least  num- 
ber with  which  a  satisfactory  braid  can  be  made. 

60 


Articles  made  of  Raffia. 


61 


There  is  no  way  of  concealing  the  ends  when 
three  strands  are  used,  and  it  is  more  difficult  to 
make  an  even  braid. 

In  beginning  a  four-strand  braid,  instead  of 
tying  the  four  strands  together  at  one  end,  take 


Fig.  31. — Pillow  made  from  Raffia. 

two  strands  of  raffia,  one  in  each  hand,  cross  the 
one  in  the  right  hand  over  the  one  in  the  left 
near  the  center,  but  so  that  the  four  ends  will 
be  uneven.  This  will  obviate  the  necessity  of 
splicing  all  the  strands  in  the  same  place. 
Bring  the  lower  left-hand  strand  in  front  and 


62 


Practical  Basketry. 


cross  over  the  lower  right-hand  strand.    Bring 
the  one  that  is  now  the  upper  left-hand  strand 


Fig.  32. 

down  under  the  lower  left-hand  strand,  and 
hold  these  in  place  with  the  thumb  and  fore- 
finger of  the  left  hand.  Now  bring  the  upper 
right-hand  strand  down  over  the  lower  right- 
hand  strand  and  cross  under  the  lower  left- 
hand  strand. 

If  the  following  short  formula  is 
kept  in  mind,  it  will  be  an  easy  thing 
to  make  the  braid  even  and  smooth : 
"Under  with  the  left,  over  with  the 
right,  and  cross  in  the  center. ' 
Keep  the  thumb  and  forefinger  of 
each  hand  up  close  to  the  braid.  It 
should  be  kept  of  uniform  width  by 
inserting  new  strands  when  needed. 
Bring  the  strand  that  is  to  be  spliced 
to  the  lower  right-hand  place.  In- 
Fig.  33.  sert  the  new  strand  beside  it,  allow- 
ing the  large  end  to  extend  an  inch  up  under 


Articles  made  of  Raffia. 


the  upper  left-hand  strand.  See  Fig.  34.  If 
the  new  strand  makes  the 
braid  too  wide  the  end  of  the 
old  strand  may  be  left  out  on 
the  wrong  side.  Cut  the  ends 
off  close  up  to  the  braid. 

I  n  sewing  the  braid  together 
use  a  small  piece  of  a  strand 
of  raffia,  sewing  over  and  over 
on  the  wrong  side.  Draw  the 
thread  tight,  so  that  the 
stitches  will  show  as  little  as 
possible  on  the  right  side. 
Any  number  of  strands  may 

Fig.34.-joiningStrand.be  braided  in  the  same  way. 
A  six-strand  braid  is  very  desirable  for  bags, 


Fig.  35.— Sewing  Mat. 

boxes,  and  etc.     A  formula  for  the  six  strand 
braid  is  as  follows :     ' '  Under  and  over  with  the 


64 


Practical  Basketry. 


left,  over  and  under  with  the  right  and  cross  in 
the  center." 


Fig.  36.— Six  Strands. 

Porch  pillows,  mats  and  splashers  are  very 


Fig.  37. — Loom  used  for  making  Pillows. 

easy  to  make,  and  are  both  decorative  and  use- 
ful.   It  requires  a  strong  loom  for  this  work. 


Articles  made  of  Raffia.  65 

Any  boy  or  girl  can  make  one.    The  dimension 
of  the  lumber  used  for  this  loom  is  as  follow^ : 

A.— 2x4— 23  ''  incji^s     long.     B.— 1x2— 25 
inches  long.     C. — 1x2—10  inches  long.    D.— 
1x1 — -25  inches  long.     The  needle — E — is  of 
hard    wood  lxl-4  and    26  inches  long,  made 
tapering  with  an  oblong  eye  in  the  large  end. 


Fig.  38. — Needle  belonging  to  Loom. 

For  one  strand  of  the  pillow,  use  sixteen 
strands  of  raffia,  medium  size.  Tie  the  large 
end  of  the  strand  around  the  small  upper  bar  on 
one  side  of  the  loom.  Straighten  out  the  raffia 
and  tie  on  the  opposite  side  by  carrying  the 
whole  strand  over  the  bar.  Then  divide  the 
strand  and  bring  one-half  .up  on  one  side  of  the 
whole  strand  and  the  other  half  on  the  other 
side  of  it  and  tie.  The  large  end  of  the  next 
strand  should  be  tied  in  on  the  opposite  side 
from  the  first  strand,  but  close  to  it,  so  as  to 
keep  the  weaving  even.  Always  tie  in  the  large 
end  of  a  strand  first.  It  will  take  thirty-three 
strands  for  a  pillow  eighteen  inches  square. 

Any  color  may  be  used  in  different  patterns, 
either  in  stripes  or  checks ;  or  one  color  may  be 
used  for  the  center,  with  a  different  colored 
border  around  the  edge. 


66 


Practical  Basketry. 


When  the  warp  has  all  been  tied  in,  tie  two 
pieces  of  raffia  together  a  finger's  length  from 
the  large  ends.  The  short  ends  will  run  out 
into  the  fringe.  Then  with  these  strands  of 


Fig.  39.— Card  Holder. 

raffia  tie  the  warp  strands  at  one  end  firmly 
together  an  inch  and  a  half  from  the  bar,  using 
the  chain  stitch.  This  makes  a  firm,  straight 
base,  against  which  the  first  strand  of  the  woof 
can  be  pushed.  Use  the  same  sized  strands  for 


Articles  made  of  Raffia.  67 

the  woof  that  was  used  for  the  warp.  Thread 
the  large  end  of  the  strands  into  the  needle  and 
weave  them  first  in  on  one  side  and  then  in  on 
the  opposite  side,  thus  alternating  the  large 
ends  with  the  small  ones,  the  same  as  in  the 
warp  strands. 

When  done  the  pillow  should  measure  the 
same  on  all  sides.  If  it  is  impossible  to  crowd 
in  the  same  number  of  strands  that  were  used  in 
the  warp,  one  or  two  may  be  left  out. 

Finish  all  around  with  the  same  chain  stitch 
that  was  used  across  the  beginning  end.  Untie 
the  ends  and  cut  them  off,  leaving  four  inches 
for  a  fringe.  It  is  desirable  to  make  the  second 
side  of  the  pillow  in  a  different  pattern. 

When  both  sides  are  finished  they  may  be 
sewed  together  and  filled  with  the  waste  ends 
of  the  fringe,  together  with  a  handful  of  excel- 
sior. 

Fig.  40  shows  a  number  of  articles  that  were 
made  from  the  split  strands  of  raffia.  We  shall 
not  attempt  to  describe  the  work  here,  but  they 
will  serve  to  show  the  possibilities  of  the  ma- 
terial. 


X. 

General   Directions. 

Preparation  of  Raffia. — Raffia  is  imported 
with  the  strands  tied  together  at  the  large  ends 
in  small  bunches.  It  is  well  to  keep  it  in  this 
way,  as  it  is  hard  to  manage  when  untied.  It 
can  be  used  to  good  advantage  just  as  it  comes 
from  the  market,  but  some  prefer  to  cleanse  it 
before  using. 

In  order  to  do  this,  enough  boiling  water 
should  be  poured  upon  a  bunch  of  raffia  to  cover 
it.  After  it  has  soaked  an  hour  or  more,  it 
should  be  thoroughly  rinsed  up  and  down  in 
the  water,  and  then  hung  up  by  the  large  ends, 
to  dry  slowly. 

When  raffia  is  used  for  sewing,  one  should 
thread  the  end  of  the  raffia  that  will  the  most 
readily  go  into  the  eye  of  the  needle,  but  after 
threading,  do  not  fail  to  move  the  needle 
towards  the  larger  end  and  join  the  smaller  end 
to  the  work.  The  larger  end  is  the  one  that  is 
cut  from  the  stock  and  is  usually  darker  and 
somewhat  hardened. 

68 


70  Practical  Basketry. 

In  the  directions  for  making  the  different 
baskets,  the  strand  of  raffia  that  is  threaded  into 
the  needle  will  be  called  "the  thread,"  to  distin- 
guish it  from  other  strands. 
.  As  the  work  progresses,  frequently  move  the 
needle  along  on  the  raffia,  for  the  needle  wears 
it  quickly.  If  the  raffia  becomes  too  large  as  it 
is  used  up  toward  the  needle,  a  piece  can  be 
split  out  at  any  time.  Keeping  the  raffia  of  a 
uniform  size  throughout  the  work  has  much  to 
do  with  its  beauty. 

Using  the  raffia  damp  will  tend  to  strengthen 
it  and  make  the  work  smooth.  Keep  the  raffia 
flat  by  twirling  the  needle  frequently  between 
the  thumb  and  forefinger  to  take  out  Hie  twist. 
Before  beginning  to  make  a  basket,  read  the 
directions  'through  carefully. 

The  top  of  a  coiled  basket  should  be  finished 
directly  over  the  place  where  the  first  row  of 
the  bottom  is  turned  up  to  form  the  sides,  thus 
making  an  equal  number  of  rows  all  around  the 
basket.  If  this  is  not  done  the  sides  will  be  un- 
even. 

Beginners  are  often  perplexed  in  regard  to 
shaping  a  basket,  the  form  of  the  decoration, 
and  the  introduction  of  colors.  With  very  little 
practice  one  soon  becomes  skillful  in  this  work, 
and  feels  quite  equal  to  trying  his  hand  at  any 
basket  that  he  may  see.  It  is  better  to  keep  to 


General  Directions.  71 

the  simple  forms  and  not  try  the  unusual,  which 
may  degenerate  into  what  George  Wharton 
James  calls  "vicious  shapes." 

The  decoration  must  be  planned  before  one 
begins  to  work  on  the  side  of  the  basket.  There 
are  several  ways  in  which  this  can  be  done. 

The  bottom  may  be  started  and  made  five  or 
six  inches  in  diameter.  By  counting  the  num- 
ber of  rows  on  the  bottom  that  make  an  inch, 
one  can  then  estimate  the  number  of  rows  that 
will  make  the  sides  the  desired  height.  If  one 
wishes  to  decorate  the  basket  with  bands,  either 
around  the  center  or  near  the  top,  he  may  decide 
how  many  rows  to  work  with  the  uncolored 
raffia  and  how  many  to  work  in  colors. 

If  the  decoration  desired  begins  at  the  bot- 
tom row,  see  Fig.  64,  one  must  divide  the  cir- 
cumference of  the  bottom  into  four  equal  parts 
(if  one  desires  this  pattern) ,  and  begin  to  work 
on  any  row  of  the  pattern. 

One  need  not  count  the  rows,  but  make  a  pat- 
tern by  measure.  Thus — bottom,  six  inches  in 
diameter;  height,  two  and  a  half  inches.  The 
side  may  be  of  any  shape;  either  a  continued 
flare,  or  it  may  flare  out  for  nearly  two-thirds 
its  height,  and  then  curve  in  toward  the  center. 
The  side  may  be  made  with  the  uncolored  raffia 
for  three-fourths  of  an  inch,  then  some  pattern 
worked  in  with  colors  that  will  come  to  within- 


72  Practical  Basketry. 

half  an  inch  from  the  top;  finish  in  the  same 
way  as  the  bottom.  There  are  a  great  many 
artistic  patterns  that  can  be  copied.  Of  course, 
a  more  satisfactory  way  would  be  for  one  to 
design  his  own  decoration. 

A  color  can  be  introduced  in  the  same  way 
in  which  a  new  thread  is  added,  by  allowing  the 
ends  of  the  old  and  the  new  thread  to  run  along 
on  the  uncovered  coil.  As  the  work  proceeds 
these  ends  will  be  covered  by  the  stitches.  It  is 
not  necessary  to  join  a  new  thread  each  time 
some  color  may  be  needed.  When  one  is 
through  using  a  color,  it  may  run  along  with 
the  coil  until  it  is  needed  again.  In  this  way 
threads  may  be  exchanged  by  dropping  the  one 
just  used  into  the  coil,  and  selecting  another 
from  the  coil  to  take  its  place. 

One  should  always  work  on  the  outside  of 
a  coiled  basket  from  right  to  left. 

The  first  row  of  the  side  of  a  basket  should 
be  turned  away  from  the  worker,  and  the  first 
row  of  the  side  of  a  plaque  toward  the  worker. 


XL 

Knot  or  Lace  Stitch. 

In  naming  the  different  stitches  one  is  quite 
confused,  for  authorities  differ  so  much  on  this 
subject. 


Fig.  41.— Knot  Stitch  Basket. 

The  knot  or  lace-stitch  is  used  for  the  first 
illustration  of  a  coil  basket,  not  because  it  is  the 
most  simple  one,  but  because  it  shows  less  if  the 

73 


74  Practical  Basketry. 

threads  and  stitches  are  uneven.  It  can  be  used 
on  the  rattan  or  the  soft  roll,  and  looks  equally 
well  in  any  size  or  shape.  If  well  made,  there 
are  few  stitches  that  make  a  more  beautiful 
basket. 

Dip  a  length  of  Nos.  3  or  4  rattan  into  water 
—this  will  prevent  its  splitting  or  breaking 
while  winding. 

Wind  it  into  a  small  coil — four  or  five  inches 
in  diameter — and  fasten  together  by  tying 
twice,  leaving  about  eighteen  inches  uncoiled. 
Place  five  or  six  inches  of  the  uncoiled  end  back 
in  the  water  and  let  it  remain  until  pliable. 
The  rattan  should  not  be  wet  again.  If  the 
rattan  is  used  while  wet  it  will  shrink  in  drying 
and  the  raffia  will  be  loose,  thus  making  very 
unsatisfactory  work.  Shave  the  end  of  the 
rattan  on  the  under  side  of  the  coil  two  and  a 
half  inches  from  the  end,  slanting  gradually  to 
a  flat  point,  as  in  Fig.  42.  Thread  about  one- 
half  strand  of  raffia — split  lengthwise — into  a 


Fig.  42. 

No.  18  needle,  with  the  needle  nearest  the  large 
end. 

Hold  the  end  of  the  rattan  in  the  left  hand 
with  the  forefinger  upon  the  small  end  of  the 
thread  about  an  inch  from  the  end  of  the  rattan. 


Knot  or  Lace  Stitch.  75 

Carry  the  thread  down  to  the  point,  with  one 
or  two  turns  around  the  rattan,  as  shown  in 
Fig.  43,  and  wind  the  rattan  firmly  back  from 


Fig.  43. — Carrying  the  Thread  down  to  the  Point. 

the  point  (Fig.  44),  about  five-eighths  of  an 
inch.     Bend  the  end  over  on  the  shaved  side 


*  •rr 

Fig.  44. — Winding  the  Raffia  back  from  the  Point. 

three-eighths  of   an   inch.     (Fig.  45.)     Then 
bend  again.     The  winding  should  come  to  the 


Fig.  45- 


point  indicated  by  a  cross.  Bring  the  thread 
around  on  the  under  side  and  pierce  the  center 
with  the  needle  from  front  to  back.  See  Fig. 
46.  This  will  not  be  a  difficult  thing  to  do  if  the 


76 


Practical  Basketry. 


rattan  has  been  thoroughly  soaked  and  shaved 
thin.  This  makes  a  firm  center  for  any  basket, 
and  is  now  ready  for  any  stitch. 

If  the  knot  stitch  is  to  be  used  the  thread 
should  be  brought  under  the  center  to  the  front, 


Fig.  46. 


over  the  top,  up  through  the  right-side  end, 
and  down  through  the  left  side  end,  see  Fig. 
47,  making  a  cross  or  knot  in  the  center. 


Fig.  47- 

Hold  the  rattan  firmly  in  the  left  hand,  bring 
the  thread  from  underneath  the  coil  up  to  the 
left  toward  the  worker,  wind  the  uncovered  rat- 
tan twice — winding  from  the  worker — carry 
the  thread  over  the  forefinger  and  under  the 


Knot  or  Lace  Stitch.  77 

second  finger  of  the  left  hand  to  hold  it,  so  that 
the  winding  will  not  slip  on  the  rattan.  The 
thread  should  be  kept  taut  all  the  time.  Grasp 
the  coil  with  the  right  hand,  and  with  the  left- 
hand  thumb  and  finger  bring  the  rattan  that 
has  been  wound  close  to  the  center.  Hold  this 
in  place  with  the  left  hand  and  insert  the  needle 
underneath  at  the  left  end  of  the  center. 

Draw  the  thread  through  and  carry  it  over 
the  covered  rattan  and  around  it,  up  to  the  left. 
This  is  the  stitch  that  binds  the  free  rattan  to 
the  preceding  row.  Hold  the  thread  under  the 
thumb  of  the  left  hand  against  the  center  until 


Fig.  48.— Knot  Stitch. 

the  thread  is  carried  across  the  binding  stitch 
just  made,  and  down  at  the  right  of  it,  through 
to  the  back.  Then  bring  the  thread  up  under 
the  coil  to  the  left,  wind  twice  and  sew  into  the 
same  place.  Wind  again  and  carry  around  to 
the  right  end  of  the  center  and  sew  in  the  same 
way.  After  having  worked  one  row  around  the 


78  Practical  Basketry. 

center,  it  can  be  forced  into  a  circle  between  the 
thumb  and  finger. 

Wind  the  rattan  two  or  three  times,  as 
needed,  between  the  stitches,  which  should  be 
about  a  quarter  of  an  inch  apart,  taking  care 
always  to  keep  the  thread  flat.  This  can  easily 
be  done,  if  it  is  untwisted  every  few  stitches  by 
whirling  the  needle  around  between  the  thumb 
and  finger,  in  an  opposite  direction. 


Fig.  49.— Knot  Stitch  Baskets. 

Splicing  Thread. — In  starting  a  new  thread 
do  not  begin  at  the  very  point,  but  up  several 
inches  from  the  end,  where  it  begins  to  grow 
larger,  and  is  more  nearly  like  the  preceding 
thread. 

Allow  the  ends  of  the  old  and  new  thread  to 
run  out  to  the  left  beside  the  uncovered  rattan, 
and  wind  them  in  with  it  as  the  work  proceeds. 
After  working  two  or  three  stitches,  the  ends 
may  be  cut  off.  The  joining  should  not  show. 

Splicing  the  Rattan. — Wet  and  shave  both 
ends  of  the  rattan  to  a  flat  point,  beginning  an 
inch  and  a  half  from  the  end.  Shave  one  end 


Knot  or  Lace  Stitch. 


79 


on  the  upper,  and  the  other  end  on  the  lower 
side  of  the  curve.    Place  the  shaved  surfaces  to- 


Fig.  50.  —  Splicing  Rattan. 

gether  in  such  a  way  that  the  uniform  size  of 
the  rattan  may  be  kept.  Wind  a  few  times 
with  a  small  piece  of  raffia  or  thread,  and  sew 
through  two  or  three  times  so  that  the  ends  will 
not  draw  apart. 


Fig.  51.— Splicing  Rattan. 


XTI. 

Navaho    Weave     or     Figure     Eight 
Stitch. 

Take  two  lengths  of  number  4  rattan.  AVet 
and  shave  one  end  of  each  piece.  Place  the 
two  shaved  ends  together,  one  above  the  other ; 


Fig.  53. — Navaho  Weave. 

(Fig.  54)  then  wind  and  sew,  as  directed  in  Fig. 
46 ;  this  leaves  the  thread  at  back  of  the  center. 
Bring  the  thread  under  the  center  up  to  the  left, 

wind  the  coil  once,  pass  the  needle  down  over 

Si 


82 


Practical  Basketry. 


the  preceeding  coil  and  out  at  the  back.    Fig  55. 
Proceed  with  the  next  stitch  in  the  same  way. 


Fig.  54- 

As  the  work  progresses  the  stitches  have  a 
tendency  to  draw  to  the  right,  and  do  not  form 
a  straight  line  out  from  the  center.  To  remedy 
this,  care  must  be  taken  to  spread  the  thread  on 
the  outside  coil.  The  coil  may  also  be  wound 


Fig.  55.— Figure  Eight  Stitch. 

once  between  the  stitches  when  needed.  The 
stitches  should  always  be  the  same  distance 
apart. 

In  the  illustration,  Fig.  53,  the  flat  bottom 
includes  the  first  row  of  color.  The  next  row 
turns  slightly  to  form  the  sides.  Keep  an  even, 
shallow  flare  for  eight  rows,  Fig.  56 ;  then  work 


Figure  Eight  Stitch.  83 

up  nearly  straight  for  five  rows.     Shave  the 
ends  and  finish  directly  over  the  place  where  the 


ig.  S^.  —  Cross  Section  of  Plaque. 


rattan  began  to  turn  up  for  the  side  of  the 
plaque. 

In  joining  a  new  thread  allow  the  ends  of  the 
old  and  new  thread  to  run  along  the  rattan  at 
the  left,  where  they  will  be  covered  by  the 
stitches. 

To  introduce  color,  join  in  the  same  way  as 
a  new  thread.  In  working  out  a  pattern,  do  not 
cut  the  threads  in  changing  from  one  color  to 
another,  but  carry  the  unused  threads  along 
with  the  rattan  until  needed. 

All  the  different  lines  may  be  worked  in  one 
color  or  each  in  a  different  color. 

In  using  this  stitch  one  will  observe  that  in 
order  to  work  in  one  row  of  color  it  is  necessary 
to  cover  two  rows;  but  when  the  next  row  is 
worked  in  with  the  natural  color,  one  of  these 
will  be  covered,  leaving  only  one  colored  row,  as 
planned. 


XIII. 

Flat  Rattan. 

The  flat  rattan  is  used  to  advantage  either 
in  a  square,  oblong,  or  a  round  shape. 


Fig.  57- 

Oblong  Basket. — It  is  well  to  make  the  bot- 
tom of  this  basket  first.  The  size  of  the  one  in 
the  illustration  is  seven  by  four  and  a  quarter 
inches. 

Cut  seventeen  strips  seven  and  a  half  inches 

84 


Flat  Rattan.  85 

long,  using  the  quarter-inch-wide  rattan.  Shave 
both  ends  to  a  thin,  flat  point,  beginning  one- 
half  inch  from  the  end.  Cover  one  strip  by 
winding  with  a  thread  of  raffia.  Sew  a  second 
strip  to  this,  using  the  knot  stitch.  Sew  a  third 
to  the  second  and  so  on  until  the  seventeen  have 
been  used.  Leave  one-quarter  of  an  inch  of  the 
rattan  on  each  end  of  every  strip  uncovered* 
Care  should  be  taken  to  have  all  of  the  strips 
of  the  same  length,  so  that  when  finished  the 
bottom  will  be  perfectly  square;  if  not,  the  bas- 
ket will  be  uneven.  Use  for  sewing  about  one- 
half  strand  of  medium-sized  raffia. 

When  the  bottom  is  finished,  soak  the  uncov- 
ered ends  until  pliable.    Cut  and  wet  two  strips 


Fig.  58. — Showing  the  end  turned  without  the  Stitches. 

of  rattan  as  long  as  the  width  of  the  bottom. 
Place  these  strips  over  the  uncovered  ends  of 
the  bottom,  and  fasten  securely  by  sewing 
through  each  one  to  make  the  work  firm.  The 
stitches  are  omitted  in  the  illustration.  Bend 


86  Practical  Basketry. 

the  end  strips  up  so  that  they  will  come  on  the 
inside  of  the  basket.  Fig.  58. 

For  the  first  row  of  the  side  cut  a  piece  of 
rattan  long  enough  to  go  around  the  edge  of 
the  bottom,  allowing  one-half  inch  for  lappingo 
Shave  both  ends  on  one  side,  so  that  the  uni- 
form size  of  the  rattan  may  be  kept.  Hold  this 
strip  up  to  form  the  first  row  of  the  side  and 
sew  around,  using  the  same  stitch  as  on  the  bot- 
tom. At  the  ends  the  side  strip  will  pass  on 
the  outside  of  the  turned  ends.  The  stitches 
are  carried  over  both  the  outside  row  and  the 
inside  strip,  thus  completely  concealing  the 
ends. 

Continue  to  add  rows  until  the  basket  is  of 
the  desired  depth.  If  a  straight  side  is  desired 
use  all  of  the  strips  of  the  same  length.  The 
sides  may  be  made  to  flare  by  making  each  strip 
a  trifle  longer  than  the  preceding  one.  The  top 
of  the  basket  can  be  made  firmer  by  using  two 
strips  placed  together  in  the  last  row  instead  of 
one,  as  in  the  preceding  rows. 

Round  Basket. — A  very  desirable  round 
shape,  with  a  cover,  is  made  from  this  material. 
It  is  especially  convenient  for  collars  and  cuffs. 
Use  the  same  width  as  for  the  oblong  basket. 

Cut  ten  strips  eighteen  inches  long  for  the 
sides.  This  will  make  a  basket  five  and  a  half 


Flat  Rattan.  87 


inches  in  diameter.     If  a  larger  basket  is  de- 
sired, cut  the  side  strips  longer. 

Measure  all  the  strips  by  the  first  one  cut  to 
insure  a  uniform  length.  The  ends  of  each 
strip  must  now  be  sewed  together,  forming  a 
ring.  Shave  both  ends,  lap  one  inch,  and  wind 


Fig.  59. — Round  Basket. 

lightly  with  a  small  flat  thread  of  raffia.  Then 
sew  a  few  times  back  and  forth  through  the 
rattan  to  hold  it  firmly  in  place.  These  rings, 
when  sewed  together,  will  form  the  sides. 

Hold  two  rings  in  the  left  hand  one  above  the 
other.  Tie  the  small  end  of  the  thread  on  to  the 
lower  ring,  using  about  one-half  strand  of  raffia 
for  this  purpose.  Throw  a  loop  of  the  thread 
up  inside  of  the  two  rings,  allowing  it  to  come 
up  a  half  an  inch  above  the  top  one,  Fig.  60. 
Bring  the  needle  from  the  inside  out  between 


88 


Practical  Basketry. 


the  rings  and  pass  it  through  the  loop  from  the 
outside. 

Draw  this  loop  down  over  the  top  ring  to  the 
one  below,  keeping  the  thread  taut..    Pass  the 


thread  down  over  the  lower  ring  up  on  the  in- 
side and  through  between  the  rings  to  the  right 
of  the  loop,  bringing  the  thread  to  the  outside. 
Then  cross  over  the  loop  and  pass  the  needle 


Fig.  61. 


down  between  the  rings  at  the  left  of  the  loop, 
thus  making  the  knot.    Fig.  61.    Throw  up  an- 


Flat  Rattan. 


89 


other  loop  at  the  left  of  the  first  and  proceed 
as  before.  The  loop  is  for  the  purpose  of 
covering  the  top  ring.  The  lower  ring  will  be 
only  half  covered.  The  spaces  left  between  the 
stitches  will  be  filled  in  when  the  next  ring  is 
added.  After  the  two  rings  have  been  sewed ' 
together,  place  the  third  below  the  second  ring, 
holding  the  three  in  the  left  hand.  Join  the 
thread  to  the  second  ring  and  bring  it  down  in- 
side the  third  ring,  up  over  the  third  and  second 
on  the  outside.  Fig.  62.  Pass  the  needle  down 


Fig.  62. 

between  the  first  and  second  ring  between  two 
stitches,  up  to  the  right  of  thread,  and  down  at 
the  left  (Fig.  63),  thus  covering  the  second  ring 
and  leaving  spaces  between  the  stitches  on  the 
third  row  to  be  covered  when  next  ring  is  added. 
When  the  ten  rings  have  been  sewed  to- 
gether, spaces  between  the  stitches  will  be  left 


90  Practical  Basketry. 

on  the  last  row.     These  will  be  covered  when 
the  bottom  is  sewed  in.     Care  must  be  taken  to 


Fig.  63. 

hold  the  rings  even,  so  that  they  will  not  bulge 
in  places. 

Cover. — Cut  two  strips  eighteen  and  a  quar- 
ter inches  long  for  the  sides  of  the  cover. 
Fasten  together  the  same  as  the  side  rings. 
Leave  the  spliced  ends  to  be  covered  last,  SD 
that  the  fit  of  the  cover  may  be  changed  if  nec- 
essary. The  bottom  of  the  basket  and  the  top  of 
the  cover  will  have  the  same  appearance  as  the 
sides  if  two  coils  of  No.  3  round  rattan  are 
worked  together — Fig.  54 — thus  forming  a 
curving,  flat  surface.  Wind  the  rattan  once 
between  the  stitches. 

Waste  Basket. — A  waste  basket  may  be 
made  in  the  same  way  as  the  small  round  bas- 


Flat  Rattan.  91 

r-**- 

ket,  using  one-half  inch  flat  rattan.  It  may  be 
made  to  flare  by  making  each  ring  a  trifle  larger 
than  the  preceding  one,  or  be  made  to  bulge 
in  the  center  by  making  each  ring  a  trifle 
larger  than  the  preceding  one  for  half  the 
height  of  the  basket.  Then  each  ring  should  be 
made  smaller  than  the  preceding  one  until  the 
top  ring  is  reached. 


Fig.  64.— Bottle-neck  Basket. 
(Soft  Coil  of  Raffia.) 


XIV. 

Soft  Coil. 

The  strands  of  raffia  vary  so  much  in  size  that 
it  would  be  impossible  to  indicate  the  size  of  a 
coil  by  the  number  of  strands  used. 


Fig-  65. 

Take  as  many  strands  of  raffia  as  will  make, 
when  twisted,  a  coil  the  size  of  No.  6  rattan, 
which  is  about  one-fourth  of  an  inch  in  diam- 
eter. Cut  the  large  ends  slanting  and  place  to- 
gether so  that  they  will  be  uneven  and  will  form 

a  blunt  point.     Fig.  66. 

92 


Soft  Coil.  93 

Thread  needle  (No,  18)  with  about  one- 
half  strand  of  raffia  and  draw  needle  toward 
the  large  end. 

Hold  the  strands  of  raffia  in  the  left  hand 
one  inch  from  point ;  place  the  small  end  of  the 


thread  under  the  thumb  of  the  left  hand.  Carry 
the  thread  down  to  the  point,  winding  once  or 
twice  to  hold  the  raffia  in  place ;  then  wind  firm- 
ly back  from  the  point  three-eighths  of  an  inch, 
turn  and  sew,  as  in  Fig.  46. 

Use  the  Figure  Eight  stitch  for  the  bottom, 
which  should  be  four  inches  in  diameter. 

Strands  must  be  added  to  the  coil  when 
needed,  to  keep  it  of  a  uniform  size  throughout 
the  basket.  When  new  strands  are  added  in- 
sert the  large  ends  between  the  other  strands 
close  to  the  winding. 

As  the  size  of  the  thread  forms  a  large  part 
of  the  decoration  in  this  basket,  the  strand  of 
raffia  that  is  used  for  sewing  the  sides  must  not 
be  split,  but  good-sized  raffia  must  be  selected 
for  this  purpose.  Use  a  No.  17  needle. 

On  the  first  row  of  the  side,  instead  of  using 


94 


Practical  Basketry. 


the  Figure  Eight  stitch,  as  on  the  bottom,  insert 
the  needle  from  behind,  through  the  center  of 
the  preceding  coil,  bind  over  the  free  coil,  as 
in  Fig.  48,  without  the  knot;  then  wind  the  coil 
—winding  from  you — to  the  next  stitch.  The 
stitches  should  be  about  one-quarter  of  an  inch 
apart.  Work  around  the  basket  once  in  this 
way,  being  careful  to  have  the  stitches  the  same 
distance  apart.  As  the  basket  increases  in  size, 
the  stitches  will  be  farther  apart ;  as  it  decreases 
in  size  toward  the  top,  they  will  be  nearer  to- 


Fig.  67.  — Showing  Stitch. 

gether.     No  new  stitches  will  be  added  as  in 
most  other  baskets. 


Soft  Coil.  95 

,-**•- 

When  starting  the  second  row  on  the  side, 
bring  the  needle  up  through  the  center  of  the 
preceding  coil  close  to  the  right  of  each  stitch, 
thus  forming  a  spiral  effect.  Make  the  sides 
two  inches  deep — measuring  straight  up  from 
the  center — md  seven  inches  in  diameter.  Then 
turn  the  direction  of  the  coil  toward  the  center, 
beginning  just  over  the  place  where  it  began  to 
turn  up  to  form  the  side.  Leave  an  opening 
for  the  top  four  inches  in  diameter.  Cut  the 
coil  off  where  it  is  to  end,  which  should  be  just 
over  the  place  where  it  began  to  turn  in  toward 
the  center.  Then  cut  some  of  the  strands  out, 
slanting  them  so  as  to  make  the  end  taper  grad- 
ually for  about  two  inches. 

Another  way  of  using  this  same  stitch  is  to 
take  a  smaller  thread  and  place  the  stitches  an 


Fig.  68. 

even  distance  apart — one-quarter  of  an  inch — 
winding  the  coil  between  them. 


96  Practical  Basketry. 

This  is  one  of  the  most  satisfactory  stitches 
for  a  soft  coil. 

The  same  stitch  can  be  varied  by  strapping 
the  coils  together  at  regular  intervals,  and  each 
time  round  taking  the  stitch  in  the  same  place, 
by  passing  the  needle  up  through  the  stitches, 
giving  them  the  appearance  of  a  chain  stitch. 
Fig.  68.  Use  a  half  strand  of  raffia  for  the 
thread.  As  the  basket  increases  in  size,  put  in 
new  stitches  by  making  a  stitch  half  way  be- 
tween all  the  other  stitches,  and  proceed  as  be- 
fore. 


XV. 

Button-hole  Stitches. 

It  is  better  to  work  this  on  a  hard  coil. 
2  or  3  rattan  is  a  desirable  size. 


No, 


Fig.  70.— Showing  Button-hole  Stitch. 

Begin  the  center  as  shown  in  Fig.  46.  Loop 
the  thread  up  behind  the  coil,  Fig.  60,  and  pass 
the  needle  through  this  loop  from  the  front  side 

next  to  the  worker;  draw  the  thread  through 

98 


Button-hole  Stitches. 


99 


the  loop  and  bring  it  over  in  front  down  firmly 
on  the  coil,  Fig.  71,  leaving  the  loop  nearly  on 


Fig.  71. 

the  top  of  the  coil,  so  that  the  loop  will  hold  the 
thread  up,  thus  giving  the  stitch  the  pointed 


Fig.  72. 

effect.    Then  pass  the  needle  down  through  the 
center,  from  front  to  back,  and  loop  as  before. 


loo  Practical  Basketry. 

When  once  around  the  center,  pass  the  needle 
down  between  each  stitch  on  the  preceding  coil, 
keeping  the  line  of  stitches  straight  out  from 
the  center,  by  putting  two  stitches  in  the  same 
place  as  often  as  needed. 

Quite  a  different  looking  stitch  can  be  made 
with  less  care  by  drawing  the  loop  each  time 
down  to  the  lower  edge  of  the  coil.  Fasten  the 
thread  by  winding  it  in  with  the  coil.  Fig.  72- 


XVI. 

Strap  Stitch. 

This  is  sometimes  called  the  "Lazy  Squaw 
Stitch."    It  is  the  most  simple  stitch,  but  its 


Kg- 73- 

beauty  depends,  more  than  any  other,  upon  the 
uniform  size  of  the  thread  used. 


101 


IO2  Practical  Basketry. 

It  is  better  to  make  this  stitch  over  a  rattan, 
as  the  coil  is  wound  but  once  between  the 
stitches,  thus  making  it  difficult  to  keep  a  soft 
coil  in  place. 

Begin  the  center  as  in  Fig.  46.  The  stitch  is 
like  the  knot-stitch,  with  the  knot  omitted. 

As  the  basket  increases  in  size  take  two 


Fig.  74- 


stitches  in  the  same  place,  so  as  to  keep  them 
parallel  and  one  directly  above  the  other. 


XVII. 

Whip   Stitch. 

This  is  a  very  simple  stitch  and  can  be  used 
on    many   different    materials — rattan,   corn 


Fig-  75- 

husk,  rushes,  cat-tail  leaves,  and  all  kinds  of 
grasses.    Raffia,  hemp  or  shoe  thread  may  be 


103 


IO4  Practical  Basketry. 

used  for  the  thread.  If  raffia  is  used,  it  must 
be  split  quite  fine  and  kept  of  uniform  size. 
If  too  coarse,  it  covers  too  much  of  the  coil. 


Fig.  76.— Showing  the  Whip  Stitch. 

The  illustration,  Fig1.  76,  will  show  the  stitch 
sufficiently. 

Care  must  be  taken  to  bring  the  thread  up  at 
the  right  and  close  to  the  stitch  on  the  preced- 
ing coil.  When  made  on  a  soft  coil,  the  ends  can 
be  sewed  into  the  coil,  but  if  made  on  rattan,  the 
ends  must  be  fastened  on  the  back  by  weaving 
back  and  forth  on  the  stitches  so  that  the  right 
side  will  present  a  continuous  thread. 


XVIII. 

A  Porno  Stitch. 

One  of  the  finest  weaves  is  made  by  carrying 
along  a  strand  of  raffia  on  top  of  the  rattan,  for 
the  purpose  of  holding  the  stitches  in  the  suc- 
ceeding rows.  This  is  an  especially  good  stitch 
for  plaques.  The  fineness  of  the  basket  will 
depend  upon  the  size  of  the  thread  used. 


Fig.  77. 

Begin  the  center  as  previously  described  in 
Fig.  46.  Place  the  strand  of  raffia  that  is 
carried  along  with  the  rattan  down  to  the 
shaved  point,  and  wind  it  in  with  the  rattan, 
care  being  taken  to  keep  it  on  the  top  of  the 
coil. 

105 


io6  Practical  Basketry. 

After  sewing  the  center,  bring  the  thread  up 
from  the  back  over  the  uncovered  rattan,  and 
pass  the  needle  down  between  the  rattan  and 
the  strand  of  raffia  in  the  preceding  coil.  Fig. 
78.  The  stitches  must  be  very  near  together  in 


order  that  the  fine  thread  may  entirely  cover 
the  outside  coil.  Keep  the  thread  perfectly  flat 
over  the  coil.  As  previously  stated,  if  the 
stitches  incline  to  draw  back,  wind  the  coil  once 
between  the  stitches  when  needed.  This  will 
not  affect  the  distance  between  the  stitches,  but 
it  keeps  the  outside  of  the  coil  covered  and  the 
stitches  on  a  line  with  the  center. 


XIX. 

Basket  Made  of  Flats. 

This  basket  is  made  from  a  material  called 
"Flats."  It  is  not  what  is  known  as  flat  rattan. 
Flat  rattan  is  twice  as  thick  and  is  used  in  the 
manufacture  of  chairs  and  baby  carriages. 

"Flats"  is  a  regular  basket  material.  Cat- 
tail leaves,  flag  leaves  and  rushes  may  be  sub- 
stituted for  it  and  used  in  the  same  way. 

Cut  seven  strips  of  the  material  twenty 
inches  long  and  sixteen  fifteen  inches  long. 
Dip  in  water  to  soften.  Lay  the  seven  long 
strips  on  a  board  parallel  to  each  other,  the 
thickness  of  the  material  apart.  Fasten  to  the 
board  by  pinning  in  the  center  of  the  strips. 
Brass-headed  tacks  are  convenient  for  this  pur- 
pose, as  they  will  hold  the  warp  strips  securely. 
Weave  in  one  of  the  short  strips  over  and 
under  the  long  strips  near  the  center  where 
they  are  fastened  to  the  board.  Fig.  81. 
Instead  of  weaving  the  second  strip  over  and 
under,  and  trying  to  force  it  up  close  to 

108 


Fig.  So — Basket  made  of  Flats. 


109 


I  10 


Practical  Basketry. 


the  first,  bend  up  the  three  under  warp  strips 
close  to  the  first  short  strip.  Fig.  82.  Place 
a  second  short  strip  in  between  the  three  warp 

77 


Fig.  81. 

strips  that  are  turned  up  and  the  four  that  lie 
on  the  board.  Then  turn  the  lower  warp  strips 
up  and  the  upper  ones  down,  and  proceed  as 
before,  weaving  in  eight  short  strips  on  each 


side  of  the  center.    If  the  bottom  is  not  closely 
woven  the  basket  will  be  unsatisfactory. 

Keep  the  bottom  securely  fastened  on  the 


Basket  Made  of  Flats.  1 1 1 

^-' 

board  until  the  edges  are  bound  together  by  a 
row  of  raffia  weaving.  Take  about  two-thirds 
of  a  strand  of  raffia  split  lengthwise,  double 
this  in  the  center  and  loop  it  around  one  of  the 
lower  side  spokes.  Weave  around  the  edge  of 
the  bottom,  using  the  twining  stitch  Fig.  28, 
care  being  taken  to  pull  the  stitches  down  close 
to  the  edge  of  the  woven  bottom.  Twist  the 
threads  over  each  other  once  between  the  cor- 
ner spokes.  When  the  starting  point  is  reached 
tie  the  threads  in  a  bow  knot,  as  they  will  be 
used  again. 

The  bottom  of  the  basket  can  now  be  taken 
from  the  board.  Divide  the  spokes  by  cutting 
through  the  center  lengthwise  from  the  ends 
down  to  the  twining  stitches,  making  twice  as 
many  spokes  on  the  sides  as  on  the  bottom. 

Tack  the  bottom  of  the  basket  on  a  block  of 
the  same  size  and  long  enough  to  extend  an 
inch  beyond  the  spokes  when  they  are  bent  up. 
Untie  the  raffia  that  was  used  on  the  first  row  of 
wide  spokes,  and  continue  to  weave  around  the 
divided  spokes  in  the  same  way,  using  the  same 
stitch — twining  stitch.  Care  must  be  taken  to 
draw  each  thread  as  it  passes  around  a  spoke 
down  close  to  the  preceding  row. 

After  weaving  seven  or  eight  rows,  a  plain 
strip  of  the  material  can  be  placed  around  the 
basket,  over  and  under  the  spokes  in  the  same 


1 1 2  Practical  Basketry. 

way  that  the  bottom  was  woven  by  bending 
back  every  other  spoke  and  pinning  the  strip 
to  the  block  down  close  to  the  weaving.  Pass 
the  raffia  weavers  up  behind  this  strip  and  bring 
them  to  the  outside,  one  on  each  side  of  an  out- 
side spoke.  Continue  to  weave  as  before. 

In  the  illustration  there  are  two  rows  of 
weaving  between  each  strip  until  five  have  been 
added.  The  top  is  finished  with  about  one  inch 
of  weaving. 

In  splicing  the  thread,  the  strand  that  is  to 
be  spliced  should  be  carried  forward  and  the 
new  thread  placed  with  it,  allowing  the  end  of 
the  new  thread  to  run  up  beside  the  spoke. 
When  the  back  strand  is  brought  forward,  it 
will  firmly  bind  it.  Weave  two  or  three  times 
around  with  the  end  in  this  position,  and  then 
cut  it  off  close  to  the  spoke. 

The  ends  of  old  threads  may  be  carried  up  on 
the  spokes  and  fastened  in  the  same  way,  thus 
concealing  the  ends  of  all  threads.  The  end  of 
the  plain  strip  should  be  lapped  behind  a  spoke. 

If  the  weaving  is  done  too  tight  it  may  be 
difficult  to  take  the  block  out.  This  can  be 
overcome  by  adding  on  the  sides  of  the  block 
three  or  four  thicknesses  of  newspapers,  at  dif- 
ferent times  as  the  basket  is  being  made.  It 
will  increase  slightly  the  size  of  the  basket 
toward  the  top.  When  finished,  pull  out  the 


Basket  Made  of  Flats.  1 1 3 

,~i" 

paper  and  then  the  block  will  slip  out  easily. 
This  basket  may  be  made  without  the  block  if 
the  bottom  is  fastened  securely  to  a  board. 

After  the  basket  has  been  removed  from  the 
block  wet  the  ends  of  the  spokes  thoroughly 
down  to  the  weaving,  but  no  farther.  Take  a 
strip  of  the  material  long  enough  to  go  around 
the  basket  without  lapping.  Cut  off  about 
one-third  of  the  width.  Scrape  the  wide  strip 
until  very  thin.  Weave  this  over  and  under 
the  spokes  like  the  preceding  strips,  bringing 
it  down  close  to  the  weaving. 

Turn  all  the  outside  spokes  down,  over  the 
strip  just  inserted,  into  the  inside  of  the  basket. 
Sew  these  down  firmly  with  a  small  thread  of 
raffia,  and  then  cut  them  off  on  the  inside,  at 
the  lower  edge  of  the  strip.  Cut  off  the  inside 
spokes  that  have  been  left  upright  at  the  upper 
edge  of  the  strip.  Now  take  two  more  strips, 
full  width;  shave  thin.  Place  one  on  the  out- 
side of  the  one  just  inserted,  allowing  it  to 
come  down  just  to  the  upper  edge  of  the  weav- 
ing. The  other  is  placed  opposite  on  the  inside, 
covering  the  turned  down  spokes.  Bind  these 
strips  together  with  raffia,  sewing  between  and 
through  the  spokes.  The  strips  may  be  en- 
tirely covered  or  space  left  between  the  stitches 
showing  the  uncovered  strip.  Care  must  be 
taken  so  that  the  edge  will  not  be  too  thick. 


ii4  Practical  Basketry. 

The  ends  of  the  spokes  may  be  shaved  thin  be- 
fore turning  down,  thus  reducing  the  thick- 
ness. 

Color  may  be  introduced  in  different  ways, 
either  using  one  strand  of  the  natural  color 
and  one  strand  of  any  desired  color,  or  both 
strands  may  be  of  the  same  color.  The  spokes 
and  bottom  may  also  be  colored  by  dipping  in 
a  dye  after  the  bottom  has  been  woven  and  the 
spokes  cut.  If  colored  before  cutting,  the 
edges  of  the  spokes  will  be  of  a  lighter  color. 

If  the  narrowest  width  of  "flats"  is  used,  the 
spokes  need  not  be  cut.  A  finer  basket  is 


Fig.  83. 

made,  however,  by  using  the  narrowest  width 
and  cutting  the  spokes. 


Basket  Made  of  Flats.  1 1 5 

,-*"' 

The  weaving  may  be  continued  up  the  sides 
without  the  plain  strips,  using  different  rows 
of  colored  raffia  for  decoration. 

Baskets  of  this  material  can  be  made  in  a 
great  variety  of  shapes.  The  basket  just  de- 
scribed may  be  made  only  two  inches  deep,  in- 
stead of  four  and  a  half,  as  in  the  illustration, 
or  the  same  block  can  be  laid  on  its  side  and  a 
basket  made  over  it,  thus  making  an  oblong 
basket  suitable  for  photographs. 


Fig.  84.— Articles  made  of  Corn  Husks. 


XX. 


Corn   Husks. 

Corn  husks  used'  in  different  ways  furnish 
an  inexhaustible  supply  of  rnateri.il  to  the  skill- 
ful worker.  The  inner  leaves 
that  cover  the  ear  are  fine, 
soft  and  durable.  When 
used  they  should  always  be 
damp. 

I  f  the  husks  are  selected 
with  care,  rich,  permanent 
colors  can  be  secured,  or 
they  may  be  stained  by  dip- 
ping in  any  dye  desired. 

An  endless  variety  of 
articles  can  be  made  by 
using  the  husks  in  plain  and 
fancy  braids  —  Fig.  85^- 
table  mats,  floor  mats, 
porch  pillows,  picture 

frames,  hats  and  baskets. 

117 


Fig.  85. -Braid  made 
from  Corn  Husks. 


1 1 8  Practical   Basketry. 

In  braiding  with  the  husks?  the  ends  are 
lapped  a  half  inch  and  braided  in. 

The  husks  can  also  be  used  for  the  roll  in  a 
sewed  basket*  The  whole  roll  may  be  made 
from  the  husks,  or  a  roll  made  of  straw;  or 
grass  may  be  covered  with  the  husks  and  sewed 
together  with  raffia  or  hemps  using  the  whip 
stitch.  Fig.  76. 


XXI. 

Basket  Work  Graded. 

When  we  consider  the  variety  of  industrial 
work  that  is  suitable  for  the  school-room — cord 
work,  paper-folding,  weaving,  basketry,  and 
whittling,  it  would  seem  that  the  only  difficulty 
presenting  itself  in  making  a  course  of  study 
would  be  the  danger  of  overcrowding. 

The  grading  of  basket  work,  as  suggested 
below,  is  the  result  of  several  years  experience. 

GRADES   i   AND  2. 

1.  —  Picture  Frames  —  round,  oval,  and 
square.  Fig.  6.  These  are  made  by  cutting 
the  desired  shapes  from  cardboard — old  paste- 
board boxes  may  be  used — and  winding  with 
raffia,  joining  the  strands  by  tying  at  the  back. 
The  older  pupils  may  use  straw  for  this  pur- 
pose. See  Fig.  87.  When  winding  with  straw 
begin  to  work  with  the  large  end,  thus  leaving 
the  small  end  to  be  pieced.  Allow  this  to  run 
one-half  inch  inside  of  the  large  end  of  the  next 

120 


Basket  Work  Graded.  121 

straw.    Continue  the  work,  always  joining  at 
the  back. 


Fig.  87. — Straw  Frame. 

2. — A  very  pretty  round  box  may  be  made 
by  cutting  out  two  round  pieces  of  cardboard 
five  inches  in  diameter,  for  the  top  and  bottom. 
Cut  a  hole  in  the  center  of  each,  five-eighths  of 
an  inch  in  diameter. 

A  strip  of  cardboard  is  then  cut  two  and 
three-eighths  inches  wide,  and  long  enough  to 
make  the  side  of  the  box,  so  that  the  cover  and 
bottom  will  come  just  over  the  edge.  Sew  the 
side  strips  together  and  wind  with  raffia.  Wind 
the  cover  and  bottom  in  the  same  way  by  pass- 
ing the  strand  of  raffia  through  the  hole  in  the 
center  and  over  the  outside  edge.  To  add  in- 


122  Practical  Basketry. 

terest,  color  may  be  introduced.  When  wound, 
the  bottom  may  be  sewed  on  the  side,  using  a 
whip  stitch.  If  sewed  around  the  second  time 


Fig.   88. — Work-box  made  of  Cardboard  and  Raffia. 

with  the  stitches  running  in  an  opposite  direc- 
tion, they  will  form  a  cross  stitch  which  will 
make  it  firm  and  give  a  neat  finish.  The  cover 
may  then  be  fastened  on  at  one  side,  and  a  ring 
attached  in  the  center.  Fig.  88. 

3. — Oblong  or  square  mats  may  be  woven 
with  raffia,  the  younger  pupils  using  a  cotton 
warp  and  the  older  ones  using  raffia  for  both 
warp  and  woof.  The  raffia  should  not  be  tied, 
but  allowed  to  lap  two  inches.  If  raffia  is  used 
for  the  warp,  all  the  ends  should  come  at  the 


Basket  Work  Graded.  123 

^Vf- 

end  of  the  mat.  When  taken  out  of  the  loom 
they  may  be  run  down  beside  a  warp  strand, 
thus  making  the  surface  neat  and  smooth. 


Fig.  89.— A  Letter  Holder. 

These  woven  pieces  may  be  made  into  a 
great  variety  of  articles  that  will  suggest  them- 
selves to  an  ingenious  teacher  (see  Fig.  89) 
• — comb  cases,  letter-holders,  cornucopias,  etc. 


124  Practical  Basketry* 

GRADE  3. 

1. — Knot-stitch  mats  (see  Fig.  90). 

2. — Knot-stitch  baskets.    (See  Fig.   49) 


Fig.  90. — Mats  macb  by  3rd  Grade  Pupils. 

This  work  can  be  given  in  two  ways,  either 
by  dictation,  giving  the  stitch  first  on  pieces  of 
rattan,  and  then  the  center,  or  by  individual  in- 
struction, teaching  it  to  a  few  older  pupils,  and 
then  allowing  them  to  teach  others. 

3. — Rattan  work,  mats  and  simple  baskets. 

GRADE  4. 

1. — Braiding. 

2.— Soft  coil  basket.      (Chapter  14.) 
3. — Rattan  work. 

Cat-tail  leaves  and  rushes  can  be  braided  and 
used  with  the  rattan. 

GRADE  5. 

1  .—Flat  rattan.      ( Chapter  13.) 

2. — Whip  stitch  on  rattan,  grass,  corn  husks. 

3. — Rattan  and  willow  work. 


Basket  Work  Graded,  125 

GRADE  6,  7,  and  8. 

1. — Strap  stitch. 

2. — Buttonhole  stitch. 

3. — Use  the  flats  or  any  substitute  —  cat-tail 
leaves;  rushes. 

4. — Any  desired  shape  of  plaque  or  basket 
may  be  used. 


A  Choctaw    Basket. 
(Made  by  the  Choctaw  Indians  of  Louisiana.,), 


XXII. 

Coloring. 

In  selecting  colors  for  baskets  or  any  other 
work,  one  should  realize  what  an  important 
factor  color  is  in  the  artistic  development  of 
the  child,  and  how  much  this  development  has 
to  do  with  his  happiness  and  well-being. 

Color  in  baskets  is  very  attractive,  but  if  one 
wishes  to  secure  the  best  results  he  should  avoid 
the  brilliant  colors,  which  are  in  too  great  a  con- 
trast to  the  other  material  used. 

It  is  advisable  for  the  beginner  to  use,  besides 
the  ground  work,  only  one  color,  and  very  little 
of  that.  One  will  make  no  mistake  if  he  uses 
some  shade  of  brown,  since  it  harmonizes  per- 
fectly with  the  natural  color  of  raffia  and  rat- 
tan. 

If  one  would  utilize  all  the  different  tints  of 
the  natural  material,  he  would  need  very  little 
aid  from  the  dyer's  art. 

Dealers  in  dyewood  and  barks — druggists 

— can  supply  nearly  all  the  vegetable  extracts 

126 


Coloring.  127 

for  the  different  colors.  An  enthusiast  may 
find  for  himself  in  the  blossoms,  fruit  and  roots 
of  plants  very  desirable  dyes. 

Raffia  should  always  be  soaked  in  water  be- 
fore immersing  in  any  dye  or  mordant.  Never 
boil  the  dye  after  the  raffia  has  been  put  into  it, 
as  directed  for  cloth  or  yarn,  for  it  will  rot  or 
burn  the  raffia. 

Rattan  needs  to  remain  in  the  dye  but  a  short 
time,  since  it  is  porous  and  will  take  color  very 
quickly. 

Brown. — Raffia,  like  the  squaw-grass  of  the 
Pacific  slope,  will  become  a  light  brown  if 
soaked  in  water  for  a  number  of  days.  If 
soaked  in  copperas  water,  it  will  give  both  light 
and  dark  shades. 

Extract  of  logwood,  1  ounce  in  two  pailfuls 
of  water  for  one  pound  of  raffia  makes  a  good 
brown.  No  mordant  should  be  used  with  this. 

Walnut  roots  or  green  husks  of  the  nut,  but- 
ternut bark,  alder  and  willow  bark,  all  give  sat- 
isfactory shades  of  brown. 

Yellow. — No.  1. — Gather  two  pailfuls  of 
the  golden  rod  blossoms.  Place  in  a  bright  tin 
boiler  and  cover  with  cold  water,  allowing  the 
water  to  boil  for  twenty  minutes.  Strain  and 
add  a  piece  of  alum  the  size  of  an  egg.  This 
makes  a  very  effective  dull  yellow. 

No.  2. — Soak  the  raffia  over  night  in  a  mor- 


128  Practical  Basketry. 

dant  or  fixing  bath  made  of  alum,  one-half 
pound  to  one  pound  of  raffia,  with  water  to 
cover.  Dilute  one  ounce  of  extract  of  fustic  in 
two  pailf  uls  of  hot  water.  Drain  the  raffia  and 
put  into  the  dye,  stirring  constantly  until  the 
required  shade  is  obtained. 

No.  3. — Saffron,  1  ounce  to  a  gallon  of  wa- 
ter. Alum  mordant. 

Orange. — No.  1 — Cochineal  added  to  a  fus- 
tic, made  as  for  yellow,  makes  a  good  orange. 

No.  2. — Annotto  makes  an  orange. 

Red. — Mordant  the  raffia  with  six  parts  of 
stannous  chloride  crystals  and  four  parts  of 
cream  tartar.  Boil  the  cochineal  and  strain,  al- 
lowing the  raffia  to  remain  in  the  dye  until  the 
desired  color  is  obtained.  Pokeberry  will  also 
make  a  red. 

Bottle  Green. — For  a  mordant,  make  a  boil- 
ing solution  of  one-tenth  of  a  pound  of  chrome 
and  one-fifth  of  a  pound  of  alum,  allowing  the 
raffia  to  remain  in  this  for  a  few  minutes  until 
it  is  thoroughly  saturated.  Take  the  raffia  out 
and  have  another  boiling  solution  of  three 
pounds  of  fustic  and  one  and  one-half  pounds 
of  logwood  chips.  Put  the  raffia  in  this  and 
allow  it  to  remain  until  the  desired  color  is  ob- 
tained. This  amount  makes  a  dye  for  ten 
pounds  of  material. 


Coloring.  129 

Light  Green. — Boil  sage  leaves  and  set  with 
alum. 

Steel  Color. — Sumach  fruit  treated  in  the 
same  way  as  the  golden  rod  and  set  with  alum 
makes  a  dark  steel.  This  is  much  better  to  use 
than  black  when  a  mass  of  dark  is  desired. 

Black. — Dissolve  one  ounce  of  extract  of 
logwood  in  two  pailfuls  of  water,  and  add  a 
piece  of  copperas  the  size  of  a  walnut.  It  takes 
a  longer  time  to  color  this  than  any  other  color. 
Wash  and  rinse  thoroughly  after  dyeing, 
otherwise  it  will  crock. 


XXIII. 

Cord   Work. 

Cord  work  is  so  simple  that  it  can  be  easily 
dictated  to  large  classes.  It  gives  employment 
to  both  hands  equally.  It  teaches  concentra- 
tion and  arouses  the  inventive  and  designing 
faculties.  This  work  is  especially  adapted  to 
small  children. 

Materials. — Any  kind  of  cord  may  be  used. 
Macrame,  staylacings,  shoestrings,  or  common 
wrapping  cord  will  give  very  satisfactory 
results. 

In  school  districts  where  there  is  no  fund 
with  which  to  purchase  material  for  industrial 
work,  the  pupils  may  be  asked  to  bring  pieces 
of  twine  from  home.  After  a  quantity  has 
been  collected,  it  might  be  dyed  some  desirable 
shade.  The  preparation  of  material  will  add 
interest  to  the  article  made. 

TIE  KNOT ONE   STRING. 

Give  to  each  child  a  piece  of  string  about  a 

yard  long.     Place  the  two  ends  together  in  the 

130 


Cord  Work.  131 

right  hand  and  let  the  loop  hang  down.  Tie 
the  first  knot  in  the  middle  by  placing  the  fore- 
finger of  the  left  hand  in  the  loop  and  bring 
the  end  that  is  between  the  forefinger  and  the 
second  up  around  the  forefinger  towards  the 


Fig.  91. — Tie  Knot  of  one  String. 

thumb,  then  carry  it  over  and  through  the  loop, 
and  pull  tight.  Fig.  91. 

Draw  the  knot  just  made  down  into  the  left 
hand  and  tie  the  second  knot  about  an  inch 
from  the  first.  Continue  tying  knots  until  the 
half  of  the  string  is  used.  Turn  the  string  and 
tie  the  other  half  in  the  same  way.  If  the  first 
knot  is  tied  in  the  middle  of  the  string  it  will  be 
easier  to  pull  the  short  end  through  than  if  the 
work  was  begun  at  one  end. 

These  knotted  strings  may  be  utilized  in 
various  ways.  If  all  are  of  the  same  size  and 
color  they  might  be  used  to  make  a  fringe  on 
a  spread  for  the  teacher's  desk  or  table.  Plain 
or  mixed  denim  would  be  an  excellent  material 
for  this  purpose.  Care  should  be  taken  to  have 
the  spread  and  fringe  harmonize  in  color. 
Color  harmony  is  of  the  greatest  importance 
in  industrial  work,  and  should  never  be  neg- 
lected. Plain  burlap  would  also  make  a  serv- 


132  Practical  Basketry. 

iceable  spread,  using  some  contrasting  color  for 
fringe  (brown  or  green).  If  one  wishes  the 
knotted  strings  might  be  sewed  around  the 
spread  in  rows  just  above  the  fringe,  or  in 
some  square  design.  The  older  pupils  would 
enjoy  doing  this,  thus  fostering  the  community 
interest. 

TIE    KNOT    OF   TWO    STRINGS. 

Use  two  strings,  hold  them  together  and  tie 


Fig.  92. — Tie  Knot  of  two  Strings. 

the  knot  in  the  same  way  as  with  one  string. 
Fig.  92. 

FRINGE  KNOTTING. 

Take  three  strings,  double  each  one,  an  1  tie 
a  knot,  using  both  ends,  about  one  inch  from 
the  end  of  loop.  In  this  exercise,  if  the 
center  string  is  of  a  different  color,  it  may 
help  the  pupil  to  see  more  readily  how  the 
strings  are  tied.  Place  these  knotted  strings 
on  the  desk  so  the  knots  will  lie  side  by  side 
(Fig.  93) ,  thus  making  three  knots  in  the  first 
row.  There  will  be  only  two  knots  in  the  sec- 


Cord  Work. 


133 


ond  row.     The  third  row  will  be  like  the  first. 
(Fig.  94.) 


Fig.  93. — Fringe  Begun.  Fig.  94. — Fringe  Completed. 

Continue  to  knot  in  this  way  for  five  rows, 
then  tie  knots  in  each  string. 


'34 


Practical   Basketry. 


After  a  very  little  practice  in  fringe  knot- 
ting the  pupil  can  very  easily  make  a  bag  or 
hammock.  With  the  smaller  children  it  would 
be  better  to  use  a  coarse  cord  for  the  first  effort 
(shoestring  or  lacing-cord).  EaflPa  may  also 
be  used  for  a  hand-bag  cr  a  spcrrge-bag  fcr  the 
bathroom. 


Fig.  95. — Knotted  Bag. 


Fig.  96. — Knotted  Hammock. 


Cord  Work. 


135 


A  SINGLE  CHAIN  STITCH  OF  ONE  STRING.     (FiG.  97  ). 
This  may  be  made  by  holding  the  work  in 
the  left  hand,  and  with  the  thumb  and  finger 
of  the  right  hand  pull  a  new  loop  through  the 
loop  already  made. 


Fig.  97.  Fig.  98.  Fig.  90. 

A  CHAIN  STITCH  OF  Two  STRINGS  (FiG.  98). 
Hold  the  work  in  the  same  way  as  in  Fig.  97, 
and  pull  through  first  one  string  and  then  the 
other,  for  the  new  loop.  This  makes  a  three- 
sided  cord.  It  may  be  made  with  different 
colored  strings. 


i36 


Practical  Basketry , 


A  SPIRAL  CORD  OF  Two  COLORS.      (FiG.  99). 
It  is  formed  by  a  succession  of  simple  knots, 
one  on  top  of  the  other,  on  the  inside  of  the 


Fig    100  Fig.  loi.  Fig.  102. 

cord.  Take  two  strings  of  different  colors. 
Tie  a  knot  in  the  middle  of  one  over  the  middle 
of  the  other.  Now  tie  a  second  knot  directly 
on  top  of  the  first,  using  the  under  strings  or 
the  ends  of  the  one  that  was  tied  into  the  first 
knot.  The  third  knot  is  tied  directly  on  top  of 
the  second,  using  the  two  strings  that  made  the 
first  knot.  Continue  to  tie  knots  in  this  way, 


Cord  Work. 


by  using  first  one  color  and  then  the  other.  This 
makes  a  very  desirable  cord.  1 1  may  be  used  to 
finish  the  edge  of  a  pincushion  or  sofa-pillow. 
It  may  also  be  used  to  good  advantage  for  mats 
either  for  the  dining-room  table  or  other  places. 

A  SINGLE  CHAIN  OF  SEE-SAW  KNOTS.     (Fio.  100). 

In  making  this,  two  strings  of  different  col- 
ors should  be  used.  Hold  one  string  straight 


§S 


Fig.  103.— Corkscrew        Cord.  Fig.  104.  Fig.  105. 

and  tie  the  other  around  it.  Then  reverse 
strings,  first  holding  one  straight  and  then  the 
other. 


138  Practical  Basketry. 

A  DOUBLE  CHAIN  OF  SEA-SAW  KNOTS.     (FiG.  101). 

Use  four  strings,  two  of  one  color  and  two 
of  another.     Tie  the  same  as  in  Fig.  100,  using 
the  two  strings  in  the  same  way  as  if  they  were 
one. 
COMBINING  SINGLE  AND  DOUBLE  SEE-SAW  KNOTS  (FIG.  102) 

The  illustration  shows  ho  w  this  is  made.   Use 


Fie;.  1 06.— Waved  Bar.  Fig.  107.  Fig.  108. 

four  strings,  knotting  each  two  together  for  a 
certain  number  of  knots,  as  in  Fig.  101. 

One  can  see  how  a  bag  could  be  made  with 
almost  any  cord,  by  uniting  the  different  strands 
at  regular  intervals. 


Cord  Work.  139 

CORKSCREW  COSD.     (Fie.  103). 

Three  strings  are  required,  one  being  much 

longer  than  the  other  two.       Hold  the   two 

shorter  strings  straight  for  the  foundation  and 

work  the  third  one  around  them  by  using  a 


Fig.  — 1 09  Left  Hand  Knot  Fig.  1 10.— Right  Hand  Knots 

(istStep.)  (2dMep.) 

simple  buttonhole  stitch.  The  twist  is  obtained 
by  carrying  the  string  with  which  the  knot  is 
made  around  behind  the  foundation  strings, 
once  every  ten  stitches. 

SINGLE  GENOESE  BRAID.     (FiG.  104.) 
Use  four  strings,  two  for  the  straight  foun- 


140  Practical   Basketry. 

dation  and  the  other  two  for  knotting.  The 
knot  is  the  same  as  Fig.  103,  making  a  knot 
first  on  the  right  with  one  string,  then  a  knot  on 
the  left  with  the  other.  This  may  be  varied  in 
many  different  ways,  as  in  Fig.  105  when  two 
knots  are  tied  on  one  side  by  the  same  string 
and  then  two  on  the  other  side  with  the  other 
string,  or,  as  seen  in  Fig.  106,  where  seven 
knots  are  tied  on  one  side,  then  the  other  string 
is  brought  straight  down  beside  the  knots 
already  made  and  seven  knots  are  tied  with  it. 
BANISTER  BAR.  (FiG.  107.) 

This  is  made  like  the  first  half  of  the  Solo- 
mon's knot  and  then  repeated. 

Many  other  knots  might  be  given.  The 
most  of  these  knots  were  used  in  the  Macrame 
lace  work  that  was  so  popular  several  years 
ago.  There  are  several  books  on  ,the  market, 
published  at  that  time,  which  give  a  greater 
variety  of  knots  if  one  wishes  to  go  into  the 
mystery  of  knot-tying  more  deeply. 
SOLOMON'S  KNOT.  (Fie.  108.) 

This  knot  is  used  in  making  bags,  hats  and 
other  fancy  work  with  raffia  (Fig.  40).  It 
requires  not  less  than  four  strands,  and  many 
more  are  often  used.  There  are  two  steps  in 
the  completed  knot,  first  tying  a  knot  with  the 
left-hand  strand  (Fig.  109),  and  then  with  the 
right  (Fig,  110). 


Cord  Work.  141 

Spool  Work. — Making  a  cord  through  a 
spool  is  a  fascinating  and  useful  work  for  small 
children.  Wool  and  cotton  yarn  may  be  used 
for  this  purpose. 

There  are  spool  knitters  on  the  market  which 
sell  for  five  cents  each,  but  one  can  easily  be 
made  from  an  ordinary  spool,  which  may  be 
brought  from  home. 

Four  headless  brads  an  inch  long  should  be 
driven  into  one  end  of  each  spool  for  one-half 
their  length.  They  should  be  equi-distant  from 


Fig.  in.— Spool  Knitter. 

each  other  and  near  the  edge  of  the  hole.  A 
large  pin,  darning  needle,  or  piece  of  wire 
may  be  used  to  carry  the  loops  over  the  thread. 


142  Practical  Basketry. 

The  work  is  commenced  by  taking  the  spool 
in  the  left  hand,  and  with  the  right  placing  a 
loop  of  yarn  over  each  brad.  The  short  end 
of  the  yarn  is  passed  through  the  hole  in  the 
spool  and  drawn  out  at  the  opposite  end.  Carry 
the  yarn  around  to  the  left  above  the  loops  and 
lift  them  with  the  long  pin  (Fig.  Ill)  up  over 
it,  allowing  the  loops  to  fall  into  the  center. 
The  yarn  left  around  the  brads  will  form  new 
loops.  Pull  on  the  yarn  at  the  other  end  of  the 
spool ;  this  will  keep  the  cord  even. 


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